Abstract
This paper examines and analyzes the use of Nick Carraway as an unreliable narrator in F. Scott Fitzgerald's classic novel, "The Great Gatsby." According to the paper, Nick's narration is significant to the novel because it forces the reader to question the validity of Nick's honesty and determine for themselves how they should interpret his representation of the novel's events. Additionally, the paper notes that Nick Carraway's unreliable narration allows for a greater understanding of the central characters presented in this novel in terms of aestheticism. Various other themes are discussed in the review, particularly that of the American dream and aestheticism. The paper concludes by stating that the novel stands as an aesthetic work, filled with aesthetic characters, and it is up to us as the reader to determine for ourselves just how taken in by this we will become upon reading it.

From the Paper
"The unreliable narration of Nick Carraway is significant to the novel as it forces the reader to question the validity of his "honesty and determine for themselves how they should interpret his representation of the novel s events. At one point Nick tells us that he is "one of the few honest people that [he has] ever known" (59), but despite this, at no point in the novel does he ever reveal to his cousin Daisy about her husband s affair,
or ever call into question Gatsby s illegal businesses. This unreliability forces us to think twice about what is being shown to us by Nick, for instance in the novel characters appear to trust Nick, but does Nick present them in this way for the reader s sake, so as to prove his honesty? Characters often appear as being unstable in their representations or portrayals; Jordan Baker is both a gossip (20), yet credible at the same time (72). This hypocritical appearance forces the reader to ask why they have been presented by Nick in such a way, and furthermore lead them to possible conclude that Nick has portrayed them in such a way to distance them from himself and appear reliable and trustworthy. However, another conclusion as to Nick s unreliable representation of characters is that it is a reflection of the way in which identity is never fixed in the novel and Nick s unreliability instead is representing this instability."

Tags:narration, aesthetics, American dream, hero

Abstract
This paper provides an analysis of the shifting point of view or focus of narration from Kurtz to Marlow in Joseph Conrad's novella "Heart of Darkness", and how the shift represents Marlow's inability to reconcile colonialism with his culpability in it.

From the Paper
"Joseph Conrad's novel "Heart of Darkness" offers readers a unique opportunity to journey in search of a man's soul while also recognizing that Conrad is telling a story of man's participation in the age ofdiscovery, which included the expansion of European colonial power into areas such as Africa. The environment of the dark continent exerts its influence on both Marlow and Kurtz, shaping their disparate understandings of their environment and their own mission. Narrators may be central to the action of a story or merely..."

Tags:natives, Africa, racism, slavery, imperialism, Europe, values

Abstract
In this article, the writer compares and contrasts two short stories and one essay, focusing on the way the author of each uses narration to add impact to their characters and stories. The short stories are Jean Shepherd's "Lost at C," and Shirley Jackson's "The Lottery." The essay is Suzanne Britt's "Neat People vs. Sloppy People."

From the Paper
"The author has a number of options when choosing his or her narrator to lend voice to a story novel essay or other work of literature. As Poirier Charon and Montello note A tale may be related by one of the characters in the story by an outsider who was purportedly told the events of the story or by one of a variety of omniscient narrators who can see into the minds and hearts of various characters to various depths. Narration is often an excellent ..."

Tags:story, characters, high school, humankind, fear, suspense, tension, characterization, omniscient, first-person, third-person, narrative, humor

Abstract
The paper analyzes how the narrator of "The Great Gatsby", Nick Carraway, influences the reader's perception of the characters and serves to highlight the novel's theme of disillusionment. The paper explains why Nick is the ideal vantage point to view this story; he is the least involved member of the action, the most rational, and he displays a wisdom and introspection unlike any of the other characters. The paper concludes by pointing out the main lesson to be learned from "The Great Gatsby", that is that humans are too good at fooling themselves about what they want and need to secure happiness.

From the Paper
"The Great Gatsby is an essentially American novel; it describes the clash of classes and values that can only occur when a rigorously stratified society pretends to be egalitarian, and some people buy it. It is of some surprise, then, that F. Scott Fitzgerald wrote this novel in France (Bruccoli, par. 12). Perhaps he needed distance from the whirlwind introduction he had had to the world of money and literary acclaim. It had been only four years since "This Side of Paradise on March 26, 1920, made the twenty-four-year-old Fitzgerald famous almost overnight," and Gatsby was his third published novel (Bruccoli, par. 8). He had also found the time to write a failed play and many commercially successful short stories (Bruccoli). Despite entering the world literary stage with a swagger, he no doubt was dazed by the pressures and pace of his life of success."

Tags:happiness, disillusionment, wealth, status, greed

Abstract
The paper focuses on the character development and narration within "Our Friend Judith". The paper shows how although the character of Judith is the subject of the story, she remains an enigmatic figure to both the reader and her friends. The paper also highlights the distance that exists between the character of Judith and the narrator.

From the Paper
"In Our Friend Judith, Doris Lessing develops Judith's character through the narration of her unnamed friend, and it is from her perspective that the reader becomes acquainted with Judith. Although Judith is the subject of the story, she remains an enigmatic figure to both the reader, and her friends. As the story progresses, the narrator, while claiming to know Judith intimately, reveals that there is much about Judith she doesn't understand. Lessing's use of this method of characterization gives the reader a fragmented sense of Judith's personality, reinforcing the distance that exists between her and the narrator."

Tags:narration, character, personality

Abstract
The paper discusses the first person narration by Bella Swan, the protagonist of Stephenie Meyer's story"Twilight", and illustrates how her history and personality is revealed in the story. The paper points out that events are not narrated after the whole sequence took place; instead, they are narrated immediately after they happen. The paper also shows how Bella Swan narrated the story through the language of others.

From the Paper
""Every narrative is said to have a narrator, who may stand outside the story or be a character within it." (Culler, 1997, p. 82) In Twilight, the story is narrated by a character within the story. Stephenie Meyer makes use of the 'first person narration', wherein, according to theorists, the narrator says "I," in order to present the story. The 'first person narration' is illustrated by the following passage from Twilight:
""My mother drove me to the airport with the windows rolled down. It was seventy-five degrees in Phoenix, the sky a perfect, cloudless blue. I was wearing my favorite shirt - sleeveless, white eyelet lace; I was wearing it as a farewell gesture. My carry-on item was a parka." (p. 2)
"In Twilight, the story is narrated by Bella Swan, the protagonist of the story. According to Culler, 'first person narrators may be the main protagonists of the story they tell; they may be participants, minor characters in the story; or they may be observers of the story." (1997, p. 82) It has been said that first person narrators "may be fully developed as individuals with a name, history, and personality, or they may not be developed at all and quickly drop from sight as the narration gets under way, effacing themselves after introducing the story" (Culler, 1997, p. 82)."

Tags:protagonist, events, sequence

Abstract
This paper offers a comparison and contrast of how two authors use the same literary devices but to different effects. The two authors are William Faulkner ("A Rose for Emily") and Edgar Allan Poe ("The Tell-Tale Heart"), and the two literary devices are narration and surprise endings.

From the Paper
"In William Faulkner's short story "A Rose for Emily" and in Edgar Allan Poe's short story "The Tell-Tale Heart", both authors use the literary devices of surprise ending and narration to enhance their works. At the surprise ending of "A Rose for Emily" we discover the reclusive and proud Southern lady is a murderer. At the end of "The Tell-Tale Heart", the narrator suffers a breakdown and confesses to murder to police. Both of these surprise endings add great impact to their respective..."

Tags:South, murder, values, insanity, pride, intellect, control

Abstract
This paper explores Oates' story regarding that of a pretty young girl Connie who lives with a rather bland family. The author examines through the narration of the story the way Connie perceives her people.

From the Paper
"The story is basically about how a young woman deals with adolescence. The most difficult stage of life for all beings as some might say, an expert wrote in Gale encyclopedia says, " Adolescence is a border between adulthood and childhood, and as such it has a richness and diversity unmatched by any other life stage. ... Adolescents are travelers, far from home with no native land, neither children nor adults. They are jet-setters who fly from one country to another with amazing speed. Sometimes they are four years old, an hour later they are twenty-five. They don't really fit anywhere."

Tags:yearning, place, search, solid, ground, study, child, development, adolescence, second, decade

From the Paper
"This study will examine criticisms which Virginia Woolf's works make of the traditional narrator. The study will also examine the remedies offered by Woolf's work to the shortcomings of that traditional approach.


Clearly, Woolf's works do straightforwardly challenge the expectations of traditional narration in fiction. Picking any of her works, we find that we have entered a special world where we simply do not have our feet planted solidly on the ground of traditional narration, and we are forced to alter our own consciousness in order to tune into what is going on in the novel, in its form, and in the narration.


The implication of the "pattern of soliloquies" in Woolf's The Waves is that the traditional approach to narration is inadequate in expressing what the author wants to say, inadequate in..."

Abstract
This paper asserts that "Troilus and Criseyde" by Geoffrey Chaucer is a treatise on Boethian philosophy more than an epic romance. The narrator is treated as a character whose purpose is to emphasize the deterioration of the poetic structure by displacing the audience, even as the hero simultaneously contends with his own emotional conflict and ultimate demise.

From the Paper
"Because Pandarus is created in Chaucer's own image (Waswo 10), he serves a pivotal role as a vehicle for Chaucerian irony in the narration scheme itself. Pandarus embodies the pacing of the narration and the emotion of the narrator himself. Both Pandarus and the narrator claim that their actions are fueled by compassion for the lovers, yet they both exhibit bizarre personal gratification in the services they perform. Some critics have even observed how the narrator "participates with delight in Pandarus' machinations to bring the lovers together. In Books II and III, as Pandarus dashes from place to place arranging the lovers' meetings, the narration itself speeds up" (Waswo 10)."

Tags:literature, medieval, Pandarus