In the book “A Separate Piece” by John Knowles, Finny, also known as Phineas was a nice caring person and cared for everyone. He considered everyone his friend even though some people envied him. Finny started slowly losing his innocence after his best bud, Gene pushed him out of a tree branch; because of that he broke his leg and had no possibility joining the war. He started slowly losing his innocence as he coming up with the idea that the war did not exist, also when he could not play sports, and when Gene tries to tell him the truth he does not want to believe it. Finny was ready to enlist in the war, but after the accident he had no choice then to just stay in school.
In “Half Walls between Us,” imagery is strongly expressed through Maria Said’s choice of words. For example, Said says, “On my first visit to Agordat, a small town in Eritrea, a country in the Horn of Africa, I fell in love with its mystery, its quiet, its soft sandy colors,” which gives a strong image of the setting (Said 79). To express strong imagery is to give great detail, explain settings, and compare and contrast the surroundings. To have imagery in a story or essay is to give visual effects for the reader to see while being intrigued into a new story. Giving great details to express imagery in “Half Walls between Us” shows the different places and sights she has seen.
He claims he could feel himself back in the past, in his son’s spot. He can remember the many years in the Maine, summer after summer. Differing from what the author wondered about, the lake cottages had not changed much at all. He claims that as he lays in the bed of the same house he had stayed in every summer of his children, he could tell that it was going to be almost exactly the same as it used to
On page 8, there is a great example of this scene, at the top of the page the narrator says, “come now, drift up the dark, come up the drifting sea-dark street now… over Jack Cobblers shop” (Gregory & Shawn 8) then at the end of the page the narrator directs us to a new location, “in the little pink-eyed cottage next to the undertakers, lie, alone the seventeen snoring gentle stone of Mister Waldo” (Gregory & Shawn 8). The rapid movement of location in Under Milk Wood and the one location of My Dinner with Andre again contribute to the idea of looking at the layers genuinely. By having many locations Thomas is trying to provide the reader a deeper outlook of the everyday lives of this Welsh community. Thomas is generating a statement about the Welsh as a community as a whole rather than the specific people in the
Knowles is able to convey a message to anyone who reads this book, from the youngest reader to the oldest. Knowles tries to portray that Devon in 1942 is a tiny opening of peacetime throughout one of the bloodiest wars in history. But that soon turns sour. This description of Gene and the way his mind works shows that anyone and anything can change in an instant. Gene's friendship with Finny turns into a co-dependent catfight.
The use of text “sense of places” only focuses on the negative impacts of technology on culture and didn’t talk about the positives at all. But, if he used the word “perception”, he could be able to have better perspectives and convincing arguments against people’s spatial awareness of the risks and benefits of
In Maxine Maxine’s narrative, “Cherry Bomb”, it openly shows how she uses literary techniques of symbolism, imagery, and allusion to characterize her childhood innocence being destroyed. Maxine uses these literary terms to characterize her childhood memories being destroyed by an incident in the summer. In the narrative, she talks about how it affected her and her perception. She mentions people and objects in her story. Every detail she described was an important factor in her life.
In the essay, “A Literature of Place”, by Barry Lopez focuses on the topic of human relationships with nature. He believes human imagination is shaped by the architectures it encounters within life. Lopez first starts his essay with the statement that geography is a shaping force for humans. This shaping force is what creates our imagination; the shaping force is found within nature. Everything humans see within nature is remembered, thus creating new ideas and thoughts for our imagination.
I have chosen Into Thin Air for my project because the main theme of this novel is Danger and Morality. I feel as there’s danger and morality in my city and around the world, with the natural events occurring. Into Thin Air is a great work of literature because of Krakauer’s use of imagery and symbolism to describe the situation of the mountain. Also, the plot is exciting, and it leaves the reader in shock on each page. The writer tells it as it is.
Against the other wall were shelves neatly stacked with fruit preserves. Dried herbs hung from the ceiling: rosemary, thyme, and a bunch of other stuff. My mother could’ve named them all.” (Riordan 208). This means that the author can describe the setting of a place really well to help a reader visualize it.
The story "The Other Side of the Sky" is very interesting, and uses alot of imagery and sensory language. Ahmedi’s specific use of sensory words impact how we see the story. This is most notable when Ahmedi hears the croud screaming to be let out, and the details of the smugglers. The story talks about what she hears coming from the croud.
Blubber If an animal habitat is located in a cold, frosty area, such as the Arctic Circle, bearing with the weather could be a challenge. Many warm-blooded animals, such as whales and seals, rely on blubber to keep their body temperatures up. Whales, for example, are constantly swimming. They could not survive in the frigid water without their blubber protecting and keeping them warm.
The museum is a space of resolution for its visitors; one which adheres to its definition as a space which is "in the service of society and its development" (ICOM, 2007) through its provision of narrative resolution and catalysis. In doing so, The Subtle Knife subverts the image of the museum in children's literature as an eternal destination for school visits and instead reconfigures the flat museum landscape as a dynamic space full of narrative potential. In a similar manner to this, Stoneheart by Charlie Fletcher transforms a school trip to the Natural History Museum in London into a life and death struggle against the fabric of the city itself, whilst A Song for Ella Grey by David Almond, a retelling of the Orpheus and Eurydice myth, sees Orpheus enter the underworld through gates on the Ouseburn, located near to the Seven Stories Museum for Children's Literature in Newcastle. Blitzed by Robert Swindells sees a school trip to Eden Camp in North Yorkshire transform into an adventure set in London at the time of the Blitz. Through their denial of the linear, passive narrative of the museum within children's literature, each character denies the definite imposition of fact upon their journey, and subsequently redefines the museum as a unpredictable space of impulse and
He describes the land outside the city as “unnoticed,” “hidden,” “neglected,” and “isolated.” This differs from the crowded city environment that the speaker did not approve of. The author also portrays the “unfenced existence” of the space, such as a bird flying through the sky or a fish swimming through the sea. Lastly, the speaker concludes with repetition of the word “here.” By using this technique, he displays his excitement for the new land around him.
These sensory signals have a large impact on our relationship and experience of an environment because they are able to physically and emotionally engage and connect us to the architecture. Although these types of sensorial qualities may not make or break the successfulness of architecture, they must remain of high importance because of their ability to reinforce an individual’s personal connection to a place. Juhani Pallasmaa, claims that our design culture has forgotten the importance of the senses in engaging our whole being- physical and emotional- in an architectural experience. This theory speaks to an experience that goes beyond a visual relationship between a person and architecture.
