In Willa Cather’s novel My Antonia, the author reveals the narrator’s nostalgic tone towards his hometown landscape through detail and imagery. Jim’s nostalgic tone towards the land is shown with details when waiting for his friends to meet for a picnic. When he decides to swim in the nearby river, Jim reflects, “For the first time it occurred to me that I should be homesick for that river after I left it… Charley Harling and I had hunted through these woods, fished from the fallen logs, until I knew every inch of the river shores and had a friendly feeling for every bar and shallow” (184-185).
He moved sluggishly at first, but even as she turned round and round, jumped up and down in an insanity of fear, he began to stir vigorously. She saw him pouring his awful beauty from the basket upon the bed, then she seized the lamp and ran as fast as she could to the kitchen. The wind from the open door blew out the light and the darkness added to her terror. She sped to the darkness of the yard, slamming the door after her before she thought to set down the lamp. She did not feel safe even on the ground, so she climbed up in the hay barn.”
Each time the phrase is utilized to present one of the many “fears of the flesh” a woman may hold, it is followed by a harsh imagery of the experiences that flesh may bear (Clifton 162). The imagery of flesh being open or closed, and being scarred or left bleeding is how Clifton highlights that this fear is a result of the shared physical experiences that become a part of the “whole world womanhood (Clifton 162).” Then, there is an emphasis on the bloody imagery of the flesh living or dying with the phrase, “will it
Furthermore, to create an accurate map it should include up to date and realistic representations of whatever is being mapped, hence Enrbidge idea of removing landscapes already defeated the purpose of creating an accurate map. Thus an illustration of earth compressed, that embodies all the parts of the earth which are proportional to reasonable scale is ideal. To continue, Grek Martin’s argument relates to this Enbridge example in his field note, ‘Maps and power in a Canadian Colonial
I am completely taken aback by how lyrical and colorful Professor Walter Alvarez was in this excerpt go his book The Mountains of Saint Francis. When I found that this reading was on geology, my expectations were something along the lines of mechanical and mundane. I was completely caught off guard when I started reading the prelude. " From high up on a peak called Monte Nerone, on clear, crisp autumn mornings, you can see far across the landscape of Italy.
Similarly in “Fitzcarraldo”, the Rubber tree grove is saw a goal, a destination that must be reached. The open plains where the bears roam in “Grizzly Man” are very apparently sacred as Timothy guards over it, and the Native Alaskan spoke of it as almost taboo to visit there. In Herzog’s “Into the Abyss”, although it is not technically a landscape, Herzog presents us with the room where men take their final breath and it is very difficult to view that room without a sort of bewilderment. Herzog uses landscapes in ways that display irony. His films often begin with an image that acts as a place to begin from, a position to build the story from, but Herzog will also often bring the viewer back to that same place for the end.
As ironic as it may sound, the protagonist’s family, along with the priest and the townspeople, are the genuine monsters in this literary piece. In this short story, it was clearly seen that the protagonist was physically and psychologically isolated from her community. This abhorrence initiated within the protagonist’s own household. Her family implied that something was wrong with her—that she used to be a lovely baby and that she was cursed (263).
Flatlands starts off with a square as the narrator explaining the world he lives in. For example, the square explains that the women in his world are lines, dangerous and idiotic. The lines let their emotions get the best of them constantly and will sometimes kill their husbands and have no recollection of what they have done. The men in the square´s world are all polygons, and the more sides they have, the more prestigious they are to society. In this, isosceles triangles are the lowest class, while circles are considered nobility.
This feeling only increases with the sensory details of the palm trees creating a “sickening pattern” as the narrator passes by them in the car and causing the narrator to feel as though her “stomach was a melon split wide inside [her] skin” (5-6). These descriptions of how the speaker views her life at that given moment make the audience feel unease as they come to
She thought this was the feeling of freedom and finding out her new identity. To continue and amplify this feeling, the thought of nullifying her mother, who represents the hardship of keeping a distinct cultural background seemed like the way to go. This is when she travels to Wildwood to suppress the idea that she will remain a “slave” to a lifestyle that she does not belong
He provides much context as he wants his reader to visualize the maps as best as he does, as he also has a keen interest for their artistic work. Blanding first describes the maps as “lush and expansive” (pg 88), and then as a “one-of-a-kind work, similar to a painting” (pg 112). Making this comparison emphasizes the antithesis that lies between the functionality of maps. It reveals to the reader that the impact of the maps for these clients was immense. They treated them as art, as they are compared to paintings.
There was undergrowth—a mat of brambles and bracken. There were no obvious paths. Dark and light came and went, inviting and mysterious, as the wind pushed clouds across the face of the sun.” (355) The "thing" in the story was symbolized as the terror
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.
As the field’s original purposes were colonial and religious expansion, maps provide and impose a specific way of perceiving a world; they represent both progress (by showing what is known) and potential (by showing what is unknown through blanks). A fictive map represents imaginary geography, conveying the thematic implication of the setting’s form and content. Literary cartographers create a relationship between a map of a text’s setting and the text where the map is “an [authorial] graphic representation of spatial relations among [the] places or objects [within] the literary work” (Bushell 2012). Fictive maps are based primarily in fantasy, which provides the reader with life lessons through escapism and medieval and/or supernatural elements. These elements are developed through world-building, where the landscape and man-made structures convey power dynamics and how society operates, and presented through a
This quote also has a tone to it too. It shows that she was scared of the
