Here the connection between the protagonist and the city seems intense, described as “a love which today makes that country for me the one above all the others to be desired” (Johnson 2). While the protagonist may not have had the intention of discovering Paris, the connection formed was a motive to leave and maybe foreshadowing the protagonist stays in
Throughout the course of the book, Peter Kageyama mentions the city of Detroit to point out crucial keys in why loving cities like Detroit can bring stability to its economic development. He conveys that economic developers, mayors and city planners have been seeking to create amenity rich destinations to attract innovative human capital for its city. Therefore, he poses the question of "Is your city meaning-rich"? (Kageyama 2011) A meaning-rich city is one that is a creative and innovative space for every community.
“Toronto existing in layers” (Mandel) and such is the impression of Miranda as she ventures once more into the vast city of Toronto, after her time in New York. Upon her arrival in the city, a pang of nostalgia hits her as she reminisces her first arrival: “she’d always liked the descent into this city, the crowded towers by the lakeshore, the way an infinite ocean of suburbia rushed inward and came to a point at the apex of the CN Tower…the city had shocked her with its vastness when she’d arrived…” (Mandel). Such descriptions might appear as mere imageries of the city, for these are common sights—the crowded city, the suburbs, and the CN--one can see when travelling into the city of Toronto. It is a familiar setting and something that is
By juxtaposing references to real works of art with the monsters and horror that Karen creates, Ferris creates a sense of uneasiness for the reader. This blurring of boundaries is especially effective in conveying the trauma that Karen has experienced. Ferris uses Karen's references to art and classical mythology to show how Karen's experiences are both real and imagined and how she uses art as a way of processing her
Cities can be bustling centers of opportunities; however, they can tear apart a person’s hopes and dreams. Writer, Ann Petry, in her novel, The Street, depicts a woman, Lutie Johnson, trying to find a place to rent out, but struggles due to the impenetrable city winds. Her purpose is to showcase how certain individuals have the ability to fight the barriers in their ruthless environment in order to succeed. Through the use of imagery, personification, and selection of detail, Petry depicts how Lutie Johnson tries to adapt to the harsh conditions of the city. Petry begins the selection by depicting the winds as an intrusive force.
In Jandy Nelson I’ll Give You The Sun the author employs many motifs throughout the novel to write about her not so typical california beach town. Art is used as a form of self expression, but in this story the characters use art to describe themselves and the objects around them. Using painters and sculptors to assimilate with, the characters aren’t so normal to everyone else in their town. Looking at this novel with a lense of both queer and psychoanalytic literary theory, this story fits the coloquials of homosexuality and highlights the development of the characters psyche. Jandy Nelson uses the motif of art to demonstrate that self expression is most important to be true to oneself because Jude and Noah can 't physically display their emotions so they show them through art.
Feelings of Inadequacy and Low Self-Worth Feelings and emotions can manifest themselves in many ways. Some individuals bottle them up while others wear them on their sleeve. Guy, from Edwidge Danticat’s “A Wall of Fire Rising,” focuses on operating a hot air balloon to escape his feelings of inadequacy, even at the expense of his family. The author uses Guy’s feelings of inadequacy to show how poverty and social expectations can take a toll on a person’s idea self-worth. While others may interpret Guy’s motives differently in the end he is successful in avoiding his feelings but left a broken family behind.
When reading literature, one can find ways to connect what they are reading to other aspects of their life and draw comparisons between the two. For example, literature tends to develop from themes that are relevant in a writer’s personal life that also happen to be occurring in the reader’s life. More specifically, art and literature often go hand in hand and tell similar stories while using different mediums. A city such as Paris with its rich history of artists and lavishly abundant museums lends itself many opportunities to experience these types of similarities. Particularly, Musee d’Orsay’s Mystical Landscapes exhibit highlighted countless pieces that were left open for interpretation.
Life is based on a foundation of decisions and circumstances compiled on a precarious perspective of the user. The structure often relies on small and often overlooked elements. They receive no recognition, yet are the very reason for its prosperity. Trade towns and old docks are the lifeblood of the world, but best suited away from the public eye. Meant for the undesirables to deal with.
And furthermore, recognize the symbolism documented in the painting for iconographic analysis. In doing so, this will highlight and comment on important characteristics of Omnibus Life in London as it yields new information regarding the emerging shift in social inequality. Through formal analysis, the visual characteristics of the work present an interesting insight into the painting. The first emotion that I experienced with this work was claustrophobia and crowdedness. Part of the feeling spawned from the three-dimensionality of the painting.
In contrast, in the book The Glass Castle by Jeannette Walls, Lori, Jeannette’s older sister became an artist. It was her childhood dream and she pursed it to the end. In contrast to my approach, Lori avidly strived to be an artist despite what others would say. “‘I’m only telling you this because I love you,” he said, (Lori’s father) “ And I don’t want to see you hurt’”
1. Introduction ‘When any civilization is dust and ashes,’ [Jimmy] said, ‘art is all that’s left over. Images, words, music. Imaginative structures. Meaning – human meaning, that is – is defined by them.
SPATIALITY The Mall becomes a ‘utopia’ where time and space evaporate (Goss 1993) and creating the civic miracle of heightened safety, excessive cleanliness as well as a well-mannered populace, a process similar to Malcolm Voyce’s (2007) idea of ‘spatial purification’. The aesthetically laid sparkling Italian marble floor leaves a sense of slight consciousness with regard to the clinical and pristine nature of the surroundings. Perhaps, the wafting music of the grand piano (blocked from view by a crowd of onlookers surrounding the pianist) is meant to work as an antidote for the induced anxiety. The material and non-material presence of the mall forms its spatial representation and the conjured “image” plays a crucial role in determining the intended audience.
By this he means that ‘art’ does not want to be accessible only to a few “highly cultivated men” but instead also to ordinary people, like the people in the audience. By using words such as “cheerful freedom”, “open-heartedness” and “reality” in contrast with “sickens”, “selfishness” and “luxury” he creates the sense that the bad things happen because of the limitation of art and that the better things will come if only people learn to enjoy art. He then says that if art has a limit he “does not wish her to live” which is a strong exaggerated statement and was made to convince the audience of his argument. Morris relates “an honest artist” not sharing his work with “a rich man” who eats food in front of starving soldiers, this could also be interpreted as an exaggeration and might have been so by part of the audience, however the use of imagery would have added to his conviction. He ends his lecture on a powerful note, “I do not want art for a few, any more than education for a few, or freedom for a few”, by using the repetition and relating art to education and freedom he heightens the importance of art in the eyes of the audience as a final technique to persuade
The characters are waiting in ‘vain’ for Godot(Sternlicht 51). They are like other human beings who continue to wait, to hope that what they want in life will come to them someday. They never mind how long they will wait. They try to keep some communication with the others or maintain people with whom their lives are linked. Beckett thinks that “the modern artist” is like someone in a trap because there is nothing to express but the main artist’s work, paradoxically, is to express.
