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Unreliable Narrators, 2005.
A review of Edgar Allen Poe's "The Black Cat" and Charlotte Perkins Gilman's "The Yellow Wallpaper," with a focus on the unreliable narrators.
770 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper compares and contrasts Edgar Allen Poe's "The Black Cat" and Charlotte Perkins Gilman's "The Yellow Wallpaper". The paper presents a focus on the unreliable narrators in both stories. The paper describes the settings of each literary work and illustrates the reasons behind the presence of an unreliable narrator in each book. The paper explains that an unreliable narrator is one whose credibility is compromised by psychological instability or bias.
From the Paper
""The Yellow Wallpaper" by Charlotte Perkins Gilman and "The Black Cat" by Edgar Allen Poe have as many differences as they have things in common. While both are short stories written by American authors, one is written by a woman and a man writes the other. Both feature a color in their title but the focus of the stories is on the narrator. Each story has an unreliable narrator, but "The Black Cat" has an unreliable narrator by the narrator's choice, and "The Yellow Wallpaper" has an unreliable narrator due to psychological instability."
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Dual Narrators in Joseph Conrad's "Heart of Darkness", 2002.
A detailed discussion of Conrad's use of two first person narrators with respect to the major themes of "Heart of Darkness"
2,920 words (approx. 11.7 pages), 0 sources, $ 86.95
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Abstract
This paper outlines and discusses how the use of an anonymous frame narrator and the primary narrator Marlowe encourage the reader to see the major concerns of the novella. These include the hypocritical nature of western imperialism on the late 19th century, the transitory nature of western civilization and the nature of evil.
From the Paper
"In Joseph Conrad's impressionistic novella "Heart of Darkness" the unusual use of dual narrators is very important in positioning the reader to understand the themes of the novella. Three of the main themes that are constantly referred to in Heart of Darkness are the hypocritical nature of western imperialism, the transitory nature of western civilization and the nature of evil. The dual narrator system has a primary narrator, Marlow, who is telling the story to three people, all somehow involved in the business of imperialism, on-board a yawl called the Nellie. It also has a frame narrator, an anonymous person with some connection to imperialism who is relating the events that occurred on the Nellie to the reader. Both of these narrators are used by Conrad to position the reader to see the novella's themes. Marlow is used fairly directly and his biased point of view and definite moral sense of right and wrong are used to directly position the reader's perspective on the three major themes mentioned earlier. The frame narrator specifically positions the reader in terms of the three themes mentioned earlier. He is also used indirectly by Conrad to position the reader in terms of the themes of the novella, he gives the reader a short background of Marlow and his stories and also encourages the reader to believe that Marlow is a very perceptive and trustworthy character, therefore, his story, and so the ideas that surround it, are important and worth thinking about."
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Narrators in 'The Heptameron', 2005.
This paper studies the interaction of narrators in 'The Heptameron' by Marguerite de Navarre.
2,250 words (approx. 9.0 pages), 2 sources, $ 89.95
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Abstract
This paper discusses Marguerite de Navarre's 'The Heptameron' which is a collection of stories narrated by five female and male storytellers modeled upon Boccaccio's famous collection, 'The Decameron'. The writer discusses that one of the defining characteristics of this collection is the degree to which the author has ensured that both the voices of the narrators and the contents of their respective stories are distinct and identifiable. The writer points out that it must be acknowledged that this fact contributes to the complexity of the work as well as to the challenges involved in studying it.
From the Paper
"Marguerite de Navarre's The Heptameron is a collection of stories, narrated by five female and male storytellers, modeled upon Boccaccio's famous collection The Decameron. One of the defining characteristics of this collection is the degree to which the author has ensured that both the "voices" of the narrators, and the contents of their respective stories, are distinct and identifiable. It must be acknowledged that this fact contributes to the complexity of the work, as well as to the challenges involved in studying it."
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Narrators in the Works of Edgar Allen Poe, 2005.
Examines the role of the depraved narrators in texts by author, Edgar Allen Poe.
1,383 words (approx. 5.5 pages), 3 sources, MLA, $ 46.95
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Abstract
Many of the works of Edgar Allen Poe take us into the deepest and darkest recesses of the human mind. Luckily, we are usually privileged to have as our guide, a narrator who is intimately familiar with these gloomy, gothic caverns. This paper examines the role of the narrator in works such as "The Cask of Amontillado", "Tell Tale Heart" and "The Murders in the Rue Morgue", among others.
From the Paper
"The fact that Dupin is the reader's guide to the depraved mind causes us to puzzle whether it is possible to understand the deranged. If even the insane follow a certain logic, even if it is a logic that is peculiar to one individual, can we then still speak of that individual as "insane?" Many of Poe's narrators appear to be more "upset" (as in dis-arranged) in their minds then completely without any hold on the wider reality that we all share."
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Chaucer's Early Narrators, 2006.
A review of the early works of Geoffrey Chaucer.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper discusses and reviews the work of Geoffrey Chaucer, whose book 'The Canterbury Tales' is thought to be his greatest achievement and most compelling addition to the English literary canon. This paper goes on to focus primarily on his early poetry, as not only can his pre-Canterbury Tales poems be rich in their own right, but Chaucer's development as a master writer can be seen through them. His development into a narrator of skill and depth is the most astounding path which a reader can follow. Watching as the Chaucer who narrates the early dream-vision poetry readies himself for the multiple and interesting narrators of his later masterpiece is truly compelling.
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"Written on the Body" by Jeanette Winterson: Non Gender Narrators and Physical Love., 2001.
An in-depth discussion of "Written on the Body" and the journey of self-discovery made through the metaphors of desire and disease.
1,230 words (approx. 4.9 pages), 0 sources, $ 41.95
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Abstract
In this paper the author examines how Winterson addresses the issues of boundaries and desire. The author specifically looks at 'Written on the Body' and tries to convey to us what physical love means through the act of making us complicit. The author suggests that Winterson does this by telling the story via a narrator who is given neither name nor gender. The author suggests the book thus serves as a personal way of investigating new avenues of sexuality and thus of love.
From the paper:
"This book is an investigation of the body of a beloved - the body as the site of nerve endings that provide us with all the physical pleasures that we will ever know as well as the repository of all the emotional responsiveness that we can desire. One of the most compelling things about this book is that Winterson does not fall into an easy dichotomy between these two kinds of passions as is all too often the case."
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Narrative Therapy: A Case Study, 2008.
A discussion of narrative therapy and its application as a treatment strategy for anorexia.
1,774 words (approx. 7.1 pages), 7 sources, APA, $ 57.95
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Abstract
The paper discusses narrative therapy, which is considered a post-modern therapy and mental health treatment that seeks to gain the cooperation and insight of the patient himself. The paper applies narrative therapy to an anorexic patient to illustrate how this therapy can be utilized in the patient's recovery.
Outline:
Narrative Therapy Overview
Characteristics
Narrative Perspectives
Narrative Concerns
Narrative Therapy in the Future
Narrative Therapy in Application
From the Paper
"Narrative therapy can be considered a post-modern therapy and mental health treatment that seeks to gain the cooperation and insight of the patient him or herself. It consists of the integration of individuals' expressions of their unique experiences in life, an account of the individuals' interpretive processes about those experiences, and in relating these unique experience sets to both the culture background of the individual and the treatment plan (Bull, Dettinger, Detwiler, Petersen & Propst, 2005, paras.1-12). It is the counselor's or therapist's duty to reconcile these experiences and, most importantly, the individual's interpretive perception of them, with the particular mental affectation that is manifesting itself."
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Classic Slavery Narratives, 2004.
This paper compares two classic slavery narratives: Olaudah Equiano's "Interesting Narrative" and Harriet Jacob's "Incidents in the Life of a Slave Girl".
1,490 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
This paper explains that one of the literary vehicles used by the anti-slavery movement was the narrative, written by slaves and former slaves, who described the brutality and inhumanity involved in the institution of slavery. However, it is clear from a reading Equiano's "Interesting Narrative" and Jacob's "Incidents in the Life of a Slave Girl" that these perspectives differed according to a slave's gender and position. The author points out that, unlike his female counterpart, Harriet Jacobs, Equiano was in a much better position to prosecute any advantages that came his way by virtue of being a male with skills in a day and age where such attributes were recognized and valued, even in slaves. The paper concludes that both of these slave narratives speak to the brutal hardships and dehumanization that occurred, but Equiano's is from the perspective of one who willingly participated in the "peculiar institution", while Jacob's is from the perspective of an unwilling participant.
Table of Contents
Introduction
Review and Discussion
Background and Overview
Olaudah Equiano's The Interesting Narrative"
Harriet Jacob's "Incidents in the Life of a Slave Girl"
Summary and Conclusion
From the Paper
"Time and again, Jacobs points to individuals' incidents in which her white owners took special pains to ensure that the blacks were acutely aware of their lowly status, and the whole slavery mentality only served to bring out the worst in everyone involved. For instance, in Chapter 8 of Jacobs' "Incidents of a Slave Girl", the author writes, "Some poor creatures have been so brutalized by the lash that they will sneak out of the way to give their masters free access to their wives and daughters. Do you think this proves the black man to belong to an inferior order of beings? What would you be, if you had been born and brought up a slave, with generations of slaves for ancestors?." In Chapter 4, Jacobs describes the mentality of the day when she writes of the escape and capture of Benjamin."
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Continuous Narrative Art, 2007.
This paper discusses the art technique called continuous narrative in which the same figure appears more than once in a single scene.
3,580 words (approx. 14.3 pages), 7 sources, MLA, $ 100.95
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Abstract
This paper explains that the Roman aesthetic approach, known as continuous narrative, makes use of a number of images of the same figure within a work, linking different aspects of a story together and evoking meaning while setting events distant in time in the same frame. The author points out that these works are reproduced in a variety of media, including on vases and cups, on huge towers, on walls as friezes or frescoes and on panels to be placed on the wall. The paper relates that an examination of some of the panels found at Pompeii shows some of the ways in which images were linked together to form a narrative, although this narrative would often be less then crystal clear because of the possibility of different interpretations.
Table of Contents:
Introduction
Continuous Narrative Art
Continuous Narrative at Pompeii
Conclusion
From the Paper
"Under and slightly to the right of the tree and column, Polyphemus sits on top of an outcropping formed by a steep pile of rocks, on which four white, wooly sheep graze. In the right foreground, at the base of the outcropping, a tall column carries a small statue. The statue is depicted in three-quarters view to the left, facing towards Polyphemus. Although the figure appears to wear a cloak and some sort of headdress, the statue's large, erect phallus allows for a secure identification of the figure as Priapus."
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Four Narrative Forms of Fiction, 2004.
A comparative analysis of the narratives of "The Grapes of Wrath" by John Steinbeck, "Old Man and the Sea" by Ernest Hemingway, "All the King's Men" by Robert Penn Warren, and "Absalom, Absalom!" by William Faulkner.
1,673 words (approx. 6.7 pages), 4 sources, MLA, $ 54.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze four different types of narration in four novels. Specifically, it compares and contrasts the four different methods of narration in each of these novels. It looks at how each of these classic novels uses a different form of narration to set the stage for the characters and to move the plot along. Each form of narration adds to the impact of the novel, and altering the narration would certainly alter the way the novels affect the reader. It shows how these novels are excellent examples of the differing forms of narration and how important they are to the overall art of fiction.
From the Paper
""Absalom, Absalom!" uses a stream of consciousness type of narration that includes the shifts in points of view and setting that can be unsettling to the reader. This is the author's intention, for he hopes to show that these same items shift consistently in everyone's life as they search for meaning and truth. Sentences are so long and convoluted that they sometimes lose the reader, and yet they set the scene quite effectively. While this novel is difficult to read, many of the narrative passages are extremely poetic and emotional. For example, Rosa once says, "my presence was to him only the absence of black morass and snarled vine and creeper to that man who had struggled through a swamp with nothing to guide or drive him -- no hope, no light: only some incorrigibility of undefeat ..." (Faulkner 137)."
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Conversion and Narrative in "Robinson Crusoe", 2006.
An examination of the conversion and narrative in Daniel Defoe's "Robinson Crusoe".
3,249 words (approx. 13.0 pages), 17 sources, MLA, $ 93.95
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Abstract
In this paper the author looks at the biographical typology of the conversion narrative, the structurally and thematically fixed point of the conversion, the consistent intrusion of a double perspective and the allegories of spiritual progress that appear in Daniel Defoe's "Robinson Crusoe". He analyzes these points to show that they all provide the narrative with moments of coherence and meaning. The author looks at "Robinson Crusoe" not as a spiritual autobiography, or even properly a conversion narrative; but as a tangential account of Crusoe's life which intrudes only along the margins of the narrative, with flashes of coherence and pattern that serve to set off the general experience of the narrator. He looks at this as an experience which tends toward wandering, indirectness and confusion. In conclusion, the author states that the beginning of the novel "Robinson Crusoe" is actually the end of the novel where the course of human life is only touched by completeness and in doing so Defoe is cleverly telling the reader about the confusion of human experience.
From the Paper
"The genius of Defoe's novel partly lies in the association of these two antithetical narrative structures into a single narrative. Defoe had his eye on the Puritan conversion narrative but also on the earlier long fiction of the seventeenth century, the romance. The conversion narrative, in particular the spiritual autobiography, often appears to lend the narrative pattern and coherence. The adventure or romance narrative offers Defoe not only a structure for the piling on of wonders and variety, but undercuts the coherence and meaning inherent in the conversion narrative, and ultimately the patterning of history or biography in any sense. Spiritual autobiography fails to supply an organizing principle for Crusoe's life, despite the narrator's attempts, because Crusoe's underlying "malaise", his integral restlessness, 2 constantly thrusts his life out of the enclosures imposed by the conversion event."
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Narrator's Role in "Two Kinds", 2005.
In this paper, a critical analysis is done on the narrator in the short story "Two Kinds" by Amy Tan.
1,460 words (approx. 5.8 pages), 1 source, MLA, $ 48.95
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Abstract
This paper analyzes the dynamic narrator in "Two Kinds." The narrator in the story undergoes two significant changes throughout a series of events: She first aspires to become a prodigy, then determines to spite her mother and finally resolves her inner tension that initially surfaces due to the expectations of her mother. In this paper specific quotes are analyzed in order to prove that the narrator underwent a transformation.
From the Paper
"In Tan's "Two Kinds" a mother's blind faith that her daughter can be a genius leads the young girl to face several internal struggles. The narrator, the young daughter, initially feels as though she could one day become a prodigy as her mother suspects. However, the narrator's mother constantly pushes too hard and forces endless tests upon her daughter, which causes great tension in the mother-daughter relationship. After many acts of resentment and spite towards her mother's ambitions, the narrator finally releases all of her emotion and leads her mother to lose any trace of hope. Unfortunately, the narrator understands her mother as well as her lost potential when reconciliation is already out of reach, although she does capture inner peace after realizing her mother truly wished only success for her daughter. The narrator in the story undergoes two significant changes throughout a series of events: she first aspires to become a prodigy, then determines to spite her mother, and finally resolves her inner tension that initially surfaces due to the expectations of her mother."
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The Slave Narrative is Born, 2006.
Introduces, discusses and analyzes Olaudah Equiano's classic slave narrative.
1,724 words (approx. 6.9 pages), 1 source, MLA, $ 55.95
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Abstract
This paper examines and analyzes the slave narrative, "The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African" by Olaudah Equiano. The paper explains that Equiano's narrative was special because of the language Equiano employs, the descriptions of his experiences as a slave that it includes and the message it conveys about examining our own lives and what we are meant to accomplish with our lives.
From the Paper
"Author Equiano's experiences were varied and unusual. His goal to share them with his readers caused him to pen his narrative, hoping to urge others to follow the same spiritual path he chose. As a young boy, he served on board an English fighting ship for his master. He fought in the French & Indian War alongside this man. He viewed slaves mistreated in the West Indies, and was cheated out of the freedom he worked for by a dishonest owner. With experience and his wits, he developed into a businessperson, traveled the world including the North Pole, helped resettle slaves to their native Africa, toured and spoke out loudly against slavery, and wrote a narrative describing his many experiences that brought the horrors of slavery home to many. In the end, publishers (including himself) published twenty-two editions of his book, and it remained popular literary material even after his death in 1797. All of these experiences added to the treasure trove of experience that created a compelling and admired narrative."
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The Unreliable Narrator, 1996.
A discussion on whether the narrator of a story can be trusted with reference to Homer's "Odyssey", James Hogg's "Private Memoirs" and "Confessions of a Justified Sinner" and the "General Prologue" to Chaucer's "Canterbury Tales".
2,402 words (approx. 9.6 pages), 3 sources, MLA, $ 73.95
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Abstract
This paper considers how given that the simplest definition of "narrator" is probably "one who tells a story", we must ask ourselves two things, how much information does the narrator have access to and how willing is s/he to give all of these facts to the reader. It examines how we assume that the most reliable of narrators is one who knows all the facts and tells them and attempts to show through an analysis of Homer's "Odyssey", James Hogg's "Private Memoirs" and "Confessions of a Justified Sinner" and the "General Prologue" to Chaucer's "Canterbury Tales" that unfortunately, it is not quite that simple.
From the Paper
"The omniscient narrator is able to fulfill at least the first of the conditions which we suppose make a narrator reliable; he knows all the facts. He is, in effect, the narrator-as-God, and, as such, is the complete antithesis of human narrators who appear as characters story they tell e.g. Telemachus and Odysseus, who narrate parts of The Odyssey for themselves. Human narrators, of course, are subject to human frailties. They can tell us everything they know, but they may not want to - and when they do, they can only tell it as they see it, from their own, unique point of view."
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The Narrative Frame of Nabokov's "Lolita", 2007.
This paper considers Vladimir Nabokov's novel "Lolita" as a framed narrative.
1,303 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper examines the use of the literary device, framed narrative, in Nabokov's "Lolita." First, the paper defines the term framed narrative. It then suggests that this device was used in "Lolita" because of the novel's controversial content. Finally, the author suggests that Nabokov may have used framed narrative to protect himself, and possibly his position as a tenured professor.
From the Paper
"As for Nabokov's note at the end, called "On a Book Entitled Lolita" (pp. 313-319), Lolita's true author ("Foreword" included), Vladimir Nabokov, comes clean immediately, in the first line of this "afterward" note to the reader, about his "impersonation of suave John Ray" (Nabokov, Lolita, p. 313). Nabokov then tells us in detail about both the genesis of, and the creative processes that went into his writing of Lolita, assuring us along the way that (1) the original idea for Lolita was a very old one, and has in fact seen several metamorphoses, on two continents, before finally emerging into the public eye, as the book it is today; (2) his urge to write it was solely a literary one (and he has in fact been writing novels, in not one language but two, since 1924), and once the idea finally emerged into the raw form of a novel, he had no creative choice but (like an itch that simply must be scratched) to finish it; (3) that he had initially been reticent to sign his own name to the book; (4) that he is in fact a stably married man, with hobbies, interests, and a routine kind of life ("Every summer my wife and I go butterfly hunting" (p. 314)), and that this particular work, his own artistic creation Lolita, is a work of art, not pornography (". . . in pornographic novels, action has to be limited to the copulation of cliches", p. 315)"
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