Unit 6 Novel

[Joaquin]

In Kite Runner, from Chapter 15-17, we are given two different perspectives. We are given Rahim Khan's retelling of his life staying behind in Afghanistan, a sharp contrast to the life Amir-jan has described of America after leaving the war torn country. We are given Rahim's retelling of Hassan's life, and the story shifts from the first person perspective of Amir, TO THE FIRST PERSON PERSPECTIVE OF RAHIM. Although not explicitly told from Rahim's point of view, the chapter uses an italicized font and delves into info only Rahim would know, such as Hassan's fate and Hassan's life in Afghanistan where he has a wife and son, and also the info reveal of Hassan's relation to Amir. This info being told from a different perspective and different stream of consciousness serves to enlighten us on a previously unknown mystery via a character we almost forgot about, but also serves as a way to show the different attitudes toward the war. To Amir, he just lost his home but found a new one in America. To people like Rahim, they lost everything. (1.a,3.d)

Throughout Kite Runner, Amir's (main character/narrator) tone and outlook on life has been evolving as he grows older. As a young boy, he has an idyllic view of the world, but is also cowardly, narcissistic, and alienated. At first, the reader is aware of Amir's absurdities, although Amir isn't, and it grows increasingly more apparent how much wrong he has committed, while he also struggles to see the reality of his wrongs. As Amir grows throughout the story, the narration shifts to less of a cynical, narcissist depicition of his high status life, to a humble every-man story in America, where he grows to be kind, compassionate, empathetic, and intrepid. These traits are reflected in his narration, as after leaving Afghanistan and having nothing in America, he tends to focus on the little glories in life, such as the cute girl in the market, or the run down van his father purchases. Compared to his earlier life, where he would gloat about his family's status and wealth constantly, it is a refreshing change of pace for the character that marks his development. This shift in his choice of narration reveals that he has a character has grown appreciative of simple life, but also paints his life in America as wrought with hardship. (4.c)

[rebeccalee]

In Crime and Punishment, the main character, Raskolnikoff, contradicts himself on multiple occasions (CHR 1.E), which builds his character in the novel. He dreams of a situation where he is a child with his father. In that dream, he sees a horse carrying an impossibly heavy load while people are cheering and abusing it for failing to carry the load. Raskolnikoff tries to stop the horse from being killed by those drunk men, and describes himself as desperately trying to help the horse with tears in his eyes. When the horse dies he hugs the horse, devastated by its death. This characterizes him as someone with a pure and compassionate heart. His reaction to the situation, along with the archetype of a child, gives the reader a complete image of innocence. However, soon after, he plots a murder and heartlessly murders a landlady with no remorse, killing her innocent sister who witnessed it also when he only harbored ill feelings towards the landlady. His shocking actions give his character nuance because while he feels compassion and has a strong sense of morality, he is cold to what seems truly “wrong” to him. To him, the world would be a better place if the landlady was gone. He is also impulsive because while he carries out the crime in a calculating manner, he does not give the act much thought, and impulsively kills the landlady’s sister as well. This characterizes him as someone who is psychologically unstable, because while his dream with the horse shows that he is the embodiment of his superego, with the landlady, he quickly gives in to his impulsive id, which should have been controlled as the case with normal people.

There are also differing perspectives of Raskolnikoff (CHR 1.A), which provide insight to who he truly is. To the common citizen, he seems like a poor, lowly, insignificant person. Because he lacks money, he walks around with worn clothes. Even the police officer was surprised by how intelligent he was when he defended a drunk girl from another guy because he looked like a beggar. Through Raskolnikoff’s perspective, he is characterized as an highly intelligent man who has simply fallen into hard times. His thoughts and feelings are complex, and his behavior is explained in detailed ways, which show attributes beyond the rags that he wears.

Raskolnikoff is further characterized through the many streams of consciousness in the novel (STR 3.A). When Raskolnikoff was planning and executing his murder of the landlady, his stream of consciousness was very jumbled, reflecting his excitement, fear, and calm, at the same time. His thoughts are short and jump between vastly different emotions, which accurately reflects his conflicting turbulent feelings and creates a closer relationship between himself and the reader, while also aiding in his characterization as an impulsive character. Through his streams of consciousness, the reader is able to better understand his intentions for murdering the landlady because his actions are explained through emotions that the reader can sympathize with.
Rebecca Lee period 6

[aleckseio]

Alecksei Ostendorf (Period 6)
Brave New World by Aldous Huxley
Skill 1.E
Brave New World by Aldous Huxley creates quite a complex character in Lenina as she often contradicts herself and her ideals. In the beginning of the text, Lenina is in a long term relationship with a man. She does not see this as too bad, but soon gets into a relationship with Bernard Marx. Based on the ideals of the dystopian society in the novel, Lenina is conditioned to believe that everyone belongs to everyone else. That is a sentiment very reminiscent of Marxism, which is referenced also with Bernard’s last name being Marx. The critical theory of Marxism is presented throughout this as the dystopian society is built around the sentiment of belonging to society and not oneself. This is also displayed through the class system that the characters are placed into at birth. They all are made to be pieces of a smooth-running machine which is society and each individual is conditioned to be equal to everyone else in their rank. There is also tons of corruption being put on display for the higher ups making decisions all perpetuate classism, which is ingrained in each individual from birth. These scientists at the top also dictate the lives of each individual as well as their prejudices. A corrupt leader is quite common in a Marxist society. The chapter in HTRLLAP, "It's all Political" goes into detail on how "Writing that engages the realities of its world – that thinks about human problems, including those in the social and political realm, that addresses the rights of persons and the wrongs of those in power – can be not only interesting but hugely compelling."(Foster, 62). The leaders in this text reflect the political corruptness that plagues most societies.

[Maria Camargo]

STR 3.A-In my novel, Dracula by Bram Stoker, there's multiple streams of consciousness all by different characters. There is no narrator because it is set up in different parts, all of the characters are narrating their own story and their own perspectives of the same event. Firstly, there is Jonathan Harker’s stream of consciousness as he is trapped in the Count's castle. Most of his thoughts are recorded in his journal and he recounts the frantic moments that he experiences with the Count, “When I found that I was a prisoner a sort of wild feeling came over me. I rushed up and down the stairs, trying every door and peering out of every window I could find; but after a little while the conviction of my helplessness overpowered all other feelings.” (pg 36). Through his journal entries, we go through Jonathan’s descent to madness and it builds suspense as we, the reader, now want to find out what the end of Jonathan will be, if he'll stay in the castle and go mad or if he eventually escapes the clutches of the Count.

STR 3.B- Through Jonathan’s stream of consciousness, we can learn a variety of things by looking at his monologues during his stay at the Count's castle. Through his journal entries, we find out that Jonathan is a very meticulous character, he is quite calm and reserved, however as his stay in the castle grows more and more suspicious and alarming, his attitude changes dramatically. He’s no longer like his old self, rather he is more fearful and grows anxious, “So far as I can see, my only plan will be to keep my knowledge and my fears for myself, and my eyes open. I am, I know, either being deceived..” (pg 36) These thoughts reveal how scared he really is about the Count himself and what might happen to him if he does stay in the castle.

STR 3.D- In the first half of the book, we can see that there are a lot of contrasts between the Count and Jonathan. The most obvious difference is that these two characters are from two different times, the Count being the most old fashioned of the two “‘We are in Transylvania; and Transylvania is not England. Our ways are not your ways, and there shall be to you many strange things.” (pg 28). Jonathan himself is from a newer, less old fashioned world and obviously from a different country, so their beliefs on certain things, such as the supernatural, differ. Another more obvious difference is the fact that the Count is a vampire, although Jonathan does not know this yet, “But my very feelings changed to repulsion and terror when I saw the whole man emerge from the window and begin to crawl down the castle wall over the dreadful abyss, face down, with his cloak spreading around him like great wings.” (pg 45). The colors and the overall setting is also greatly contrasted, at the beginning of Jonathan’s journey to the Count's castle he describes it as a “wonderful place”, describing the food and places he visited along the way in vivid and colorful details. However, as soon as he gets to Transylvania he describes it as gloomy, cold and foreign to him. This is also supported by the Archetypal Criticism, since the Count's castle is described as dark and depressing; it follows the idea that black represents evil and death, which in this case it does. Dracula himself dresses in all black further emphasizing this archetype and contrast between himself and Jonathan.

[benardra]

Benardra Omoyele
Period. 6
3.B - Skill 3.B is about how stream of consciousness builds suspense and peeking through the character’s private thoughts which makes the readers wonder what the thoughts mean and how the story changes knowing these character’s thoughts. This is shown through the thoughts of mostly Sethe, Denver, and Paul D. Each of these characters’ thoughts correlate to Beloved and how they think of her. From the thoughts of Paul D, the readers can see that his feelings towards her are negative compared to how Sethe and Denver feel about Beloved. A quote from the book states, “Beloved was shining and Paul D didn’t like it,”(Morrison 76). This quote shows that Paul D doesn’t like Beloved because Sethe gives her more attention than him which is why she’s shining and he’s not. Beloved reciprocates a dislike towards Paul D because of a similar reason with that being, Sethe interacting with him but later on starts to tempt Paul D. Denver, however, is the opposite. She enjoys Beloved’s company and Beloved giving her attention. An example of this, “Denver is a strategist now and has to keep Beloved by her side from the minute Sethe leaves for work until the hour of her return when Beloved begins to hover at the window, then work her way out the door, down the steps and near the road,”(Morrison 142). The quote not only shows Denver wanting undivided attention from Beloved but also shows Beloved’s attachment to Sethe. Beloved’s attachment to Sethe represents an intense relationship that allows Sethe to remember and confront her past. In the book, Sethe’s thoughts of Beloved can be seen as motherly since that is an instinct that she carries throughout the book and also can be seen as her reciprocating Beloved’s feelings towards her as she wants to know about her past. Sethe answers back by asking questions to Beloved of her past and having speculations. For example, “Deep down in her wide black eyes, back behind the expressionless, was a palm held out for a penny which Denver would gladly give her, if only she knew how or knew enough about her, a knowledge not to be had by the answers to the questions Sethe occasionally put to her,”(Morrison 140). These three characters have different perspectives on Beloved yet still question her with subjects of her past and how she interacts with each of them.
5.C - Skill 5.C is about symbols and how symbols have their own literal meaning, but depending on the context, it can take on a figurative meaning. The symbols of “Beloved,” are Beloved herself and the house of 124. The house of 124 serves as symbolism for haunting memories as it recalls the disturbing experiences that Sethe went through in Sweet Home. An example of 124 could be, “124 was spiteful, Full of a baby’s venom. The women in the house knew it and so did the children. For years each put up with the spite in his own way, but by 1873 Sethe and her daughter Denver were its only victims,”(Morrison 3). “Full of a baby’s venom,” refers to Sethe’s dead daughter, Beloved, who was killed by Sethe due to her not wanting her to grow to be a slave. She haunts the house and only stops haunting the house when Paul D drives her out of it but later returns as a young woman to remind Sethe of her past trauma. From doing this, Beloved symbolizes the past coming to haunt the present. For example, “And, for some reason she could not immediately account for, the moment she got close enough to see the face, Sethe’s bladder filled to capacity. She said, “Oh, excuse me,” and ran around to the back of 124,”(Morrison 61). Another example, “But there was no stopping water breaking from a breaking womb and there was no stopping now,”(Morrison 61). These quotes occur when Sethe was first meeting Beloved. This moment could symbolize the past returning to her as a form of resurrection or a rebirth with Sethe’s water falling from a “breaking womb.” The symbolisms of 124 and Beloved both tie into the main protagonist, Sethe’s past of slavery. In this, it is leading to Sethe having a full confrontation with her past and her life at Sweet Home which could make her realize this and eventually overcome her hurdles since it still haunts her.

[lilytruong]

Skill 1.A
In the perspective of Raskolnikov’s mother and sister, he is their only beam of hope for being able to escape the struggles of poverty, because he has been provided with an education at the university level away from home. Both Raskolnikov’s mother and sister in the story sacrifice their honor and comfort to try to provide monthly funds for Raskolnikov’s education, because they believe he will succeed in making a decent living for himself. However, Raskolnikov in comparison views himself as depressing due to losing his spot as a student in the university. He struggles to provide for himself while trying to prevent his family from finding out that he is a failure, which he views himself as. This contrast demonstrates how Raskolnikov greatly values his family, because he is unwilling to break their hopeful dreams for him. This characterizes Raskolnikov as a tragic protector that seeks to protect his family’s dreams at the expense of himself.

Skill 1.C
In the story Raskolnikov’s friend, Razumikhin, acts as a foil character to him. Both Raskolnikov and Razumikhin are former university students and are struggling in poverty. However, their personalities strongly contrast with each other. While Raskolnikov is pessimistic, anxious, and reserved, Razumikhin is outgoing, positive, and confident. This strong contrast between the two characters serves to emphasize the negativity and loneliness surrounding Raskolnikov. By magnifying these negative traits, the dread of the situation that Raskolnikov is caught in is emphasized to the reader, allowing them to understand and empathize with the main character. By having the foil character be Raskolnikov’s only friend from the university, it also demonstrates how he may feel isolated from others after he has committed his crime, because he is unable to confide even with his friend.

Skill 1.E
In the story Raskolnikov is presented as a character with good ethics and morals. This is presented repeatedly to the reader before Raskolnikov committed his crime. Examples of this is how he looks out for a drunk girl on the streets, helps a drunk man home, and defends an abused horse when he was little. His good ethics and morals strongly contradict with his decision to murder an old woman for her money, which demonstrates how he is a good person that has been pushed to desperation due to poverty. While Raskolnikov is a kind individual, like his friend Razumikhin, he is willing to partake in criminal activity to help himself and his family. Raskolnikov’s struggles with his morals connect to the concept of cognitive dissonance from psychology. Because of the drastic difference between his actions and his morals, Raskonikov tries to justify his actions by villainizing the old woman. Before the murder, Raskolnikov repeated to himself that the old woman was vain, selfish with her wealth, and was better off dead, so her wealth could be redistributed to the poor.

Ch.23 “It’s Never Just a Heart Disease” from HTRLLAP, refers to how mysterious illnesses in a story often hold symbolic or metaphorical qualities. An example of this is Crime Punishment is when Raskolnikov is unexpectedly bedridden from a fever immediately after his murder even though he is confirmed, by a doctor later in the story, that he is perfectly healthy physically. This demonstrates how Raskolnikov’s illness could be a metaphor for his guilt, which is mentally punishing him for his actions like a criminal.

[isaiahgarcia12]

Feb 21, 2024 9:31:16 GMT -8 keiratakahashi27 said:

In the novel “Where the Crawdads Sing” by Delia Owens, the author addresses skill 1.A of our AP College Board videos by exemplifying different perspectives throughout the book. Throughout the novel, Owens takes on an omniscient third person perspective, however primarily follows the story of the main character Kya. The author alternates between two time lines: Kya’s life as she grows into an adolescent and 1969 (present time) where there seems to be a crime that has just occurred. One example of a foil character is Kya’s new friend Tate. He shows similarities as they both show an interest in nature, but he also emphasizes Kya’s lack of education and a traditional childhood. From skill 3.A, a stream of consciousness is shown throughout Kya’s timeline. For example, when she first went to school and was exposed to other people for the first time in a while, her stream of consciousness rapidly interrupted the text as she felt bothered by the other students. It helps the reader understand how she truly feels about each interaction. Skill 3.D discusses contrasts. There are many contrasts shown throughout the text that emphasizes the main character’s qualities and background. By comparing her to the other privileged kids of her age, Owens emphasizes Kya’s poor circumstances and unfair advantages. However, as a white person, she is contrasted in how she treats her friend, black man named Jumpin’, as opposed to how the other white kids of the town treat him with disrespect. This emphasizes her quality of not judging people based on their color.

This is a interesting take, Keira. I can definitely understand how the alternation of two different time lines can point out the development within characters while also examining the extent of a foil character to the protagonist. The foil character may be magnified by the different time lines in order to create a parallel where we can identify how shifts and changes to the narration could point out what the protagonist could've been- in terms of development. The shared commonality between the foils, however, shares that despite the different situations, people tend to develop based off their situations, while also shedding light to the underlying nature that despite our situation we will always have a connection to others that allows us to relate and empathize with others despite different circumstances.

[danac]

Feb 21, 2024 9:38:14 GMT -8 kpsmith said:

The Picture of Dorian Gray written by Oscar Wilde, addresses a variety of skills, including the ones found in, CHR 1.A, STR. 3.A, and FIG 5.C. The first skill, CHR 1.A, is shown through different characters and their thoughts, about the main protagonist, Dorian Gray. For example, two of his close friends, both viewed him as young and beautiful, one of the most attractive men they’ve seen, even to a point of worship. However, one of them encourages a morally corrupt attitude, while the other tries to prevent him from changing. While both characters have the similar view in his looks, they have differing emotions about the way he acts. This gives us an insight into the kind of character Dorian Gray is into his background and develops different attitudes in the readers. Another different perspective in Dorian Gray is that of Sybil Vane. She was a love interest in the book, and she found Gray just as beautiful as the other characters did. However, his true colors were shown one night when he had caused a scene, yet she still loved and begged him for him. So, it’s clear that most of the characters are attracted to Dorian Gray’s looks alone, rather than the type of person he is.
The second skill, STR. 3.A, is shown by Dorian’s thoughts (stream of consciousness). He is seen tackling his emotions and with the way he acts. But this feud between himself is easily influenced by one of his vain friends. Readers may have thought that there’d be a moment of redemption for Dorian, but it’s immediately shot down when he goes back to his old ways due to this influence. This gives us another insight into his character, that the people have a stronger effect on him than his own mind does.

I agree with this analysis. I think it is interesting how Dorian Gray's attitude and perspective towards Sybil Vane changes as he gets to know her as well. Dorian is very poetic and delusional about his love with her at first, which was deeply rooted in his appreciation for the arts taken after Lord Henry. Dorian did not yet realize that he only adored Sybil Vane so much because of her craft, not because of her identity or self-hood. Once he sees how poor an actor Sybil Vane becomes because of her own infatuation with Dorian, he casts aside the dramatic love he had for her and scorns her. This abrupt change in dialogue and inward thought from passionate to aloof all because Dorian was not allowed his full expectation of Sibyl Vane can represent the critical theory of the Freudian Approach. Dorian represents man's Id of the ego fully taking over his actions and his line of thinking, at first manifested in Sibyl's suicide to Basil's murder at Dorian's hands. Dorian values art more than the livelihood of his relationships because he sees life as a once-in-a-lifetime experience he shouldn't take seriously for the sake of others. He has a constant fight between his Id and his ego, but the greatest triumph from the Id was Basil's ultimate murder, where Dorian let his deluded rage take over him in a spur of the moment. This represents the Freudian Approach. 

[rebeccalee]

Feb 22, 2024 14:57:35 GMT -8 lilytruong said:

Skill 1.A
In the perspective of Raskolnikov’s mother and sister, he is their only beam of hope for being able to escape the struggles of poverty, because he has been provided with an education at the university level away from home. Both Raskolnikov’s mother and sister in the story sacrifice their honor and comfort to try to provide monthly funds for Raskolnikov’s education, because they believe he will succeed in making a decent living for himself. However, Raskolnikov in comparison views himself as depressing due to losing his spot as a student in the university. He struggles to provide for himself while trying to prevent his family from finding out that he is a failure, which he views himself as. This contrast demonstrates how Raskolnikov greatly values his family, because he is unwilling to break their hopeful dreams for him. This characterizes Raskolnikov as a tragic protector that seeks to protect his family’s dreams at the expense of himself.

Skill 1.C
In the story Raskolnikov’s friend, Razumikhin, acts as a foil character to him. Both Raskolnikov and Razumikhin are former university students and are struggling in poverty. However, their personalities strongly contrast with each other. While Raskolnikov is pessimistic, anxious, and reserved, Razumikhin is outgoing, positive, and confident. This strong contrast between the two characters serves to emphasize the negativity and loneliness surrounding Raskolnikov. By magnifying these negative traits, the dread of the situation that Raskolnikov is caught in is emphasized to the reader, allowing them to understand and empathize with the main character. By having the foil character be Raskolnikov’s only friend from the university, it also demonstrates how he may feel isolated from others after he has committed his crime, because he is unable to confide even with his friend.

Skill 1.E
In the story Raskolnikov is presented as a character with good ethics and morals. This is presented repeatedly to the reader before Raskolnikov committed his crime. Examples of this is how he looks out for a drunk girl on the streets, helps a drunk man home, and defends an abused horse when he was little. His good ethics and morals strongly contradict with his decision to murder an old woman for her money, which demonstrates how he is a good person that has been pushed to desperation due to poverty. While Raskolnikov is a kind individual, like his friend Razumikhin, he is willing to partake in criminal activity to help himself and his family. Raskolnikov’s struggles with his morals connect to the concept of cognitive dissonance from psychology. Because of the drastic difference between his actions and his morals, Raskonikov tries to justify his actions by villainizing the old woman. Before the murder, Raskolnikov repeated to himself that the old woman was vain, selfish with her wealth, and was better off dead, so her wealth could be redistributed to the poor.

Ch.23 “It’s Never Just a Heart Disease” from HTRLLAP, refers to how mysterious illnesses in a story often hold symbolic or metaphorical qualities. An example of this is Crime Punishment is when Raskolnikov is unexpectedly bedridden from a fever immediately after his murder even though he is confirmed, by a doctor later in the story, that he is perfectly healthy physically. This demonstrates how Raskolnikov’s illness could be a metaphor for his guilt, which is mentally punishing him for his actions like a criminal.

You can expand on the disease being a metaphor for the guilt he feels and what qualities are transferred over. For example, if he has a strong fever that leaves him unable to function, it could reflect how his guilt may make him feel mentally incapable of functioning.

[aleckseio]

Alecksei Ostendorf (Period 6)
Brave New World by Aldous Huxley
Skill 5.C
Huxley uses the “Savage Reservation” as a symbol for how we view people of the past in modern day. Labeling the people savages creates a negative connotation despite readers now viewing the savages as relatable. Since these people take care of their families and raise their children, we can relate as that is something we see in today’s society. However, like us today looking back at culture in the past, Bernard and Lenina are looking down on the “savages” with disgust. They note specific things that are still in effect in some form, such as them dancing in a ritual similar to a ritual they do in their dystopian society. The view of the reader is split and placed on its head as we, as modern people can see the strangeness in the new ways of the majority people like Bernard and Lenina, while relating to the “savages” as they seem a more normal way to us than do the “civilized” people.

[beatriz]

Feb 22, 2024 14:54:35 GMT -8 aleckseio said:

Alecksei Ostendorf (Period 6)
Brave New World by Aldous Huxley
Skill 1.E
Brave New World by Aldous Huxley creates quite a complex character in Lenina as she often contradicts herself and her ideals. In the beginning of the text, Lenina is in a long term relationship with a man. She does not see this as too bad, but soon gets into a relationship with Bernard Marx. Based on the ideals of the dystopian society in the novel, Lenina is conditioned to believe that everyone belongs to everyone else. That is a sentiment very reminiscent of Marxism, which is referenced also with Bernard’s last name being Marx. The critical theory of Marxism is presented throughout this as the dystopian society is built around the sentiment of belonging to society and not oneself. This is also displayed through the class system that the characters are placed into at birth. They all are made to be pieces of a smooth-running machine which is society and each individual is conditioned to be equal to everyone else in their rank. There is also tons of corruption being put on display for the higher ups making decisions all perpetuate classism, which is ingrained in each individual from birth. These scientists at the top also dictate the lives of each individual as well as their prejudices. A corrupt leader is quite common in a Marxist society. The chapter in HTRLLAP, "It's all Political" goes into detail on how "Writing that engages the realities of its world – that thinks about human problems, including those in the social and political realm, that addresses the rights of persons and the wrongs of those in power – can be not only interesting but hugely compelling."(Foster, 62). The leaders in this text reflect the political corruptness that plagues most societies.

I absolutey agree with the application of HTRLLAP. Brave New World is a dystopia and dystopias, especially the ones written around this time, are often written as warning signs towards society. They're written to warn of futures the writer fears is coming and push representatives to take action, even if no action is suggested within the text itself. Dystopias such as Brave New World always reflect the problems and dangers the writer see in the world of their day and take those issues to their most logical extreme to reveal these systemic, cultural, or societal issues to the audience.

[Maria Camargo]

Feb 21, 2024 15:20:45 GMT -8 beatriz said:

Catch-22 by Joseph Heller is a limited 3rd person perspective book, with most of the information the audience receives being limited to and filtered through the main character Yossarian. At first, the only thing to reveal Yossarian's bias is what the audience already knows about World War II and their attitudes towards it. 1.A As we add more characters in, more about Yossarian is revealed. 4.D Yossarian is thought to be crazy by the other characters, and to an extent the audience is inclined to agree with them. However, through Yossarian and the gossip he receives, the audience finds the other characters under equally absurd scenarios and or mental statuses. 1.C Yossarian doesn’t have a proper direct foil, but the one who comes closest is Orr. An ex-fellow, now-dead, pilot that was crazy enough to be grounded but for that exact reason never asks to be grounded and therefore continues flying. Yossarian’s essentially opposite in terms of behavior used to demonstrate and explain catch-22 to Yossarian and the audience. 1.E Yossarian is shown to be both crazy yet sensible. He’s desperately trying to get out of combat duty, having meant to be sent home ages ago but whose commander keeps upping the required number of missions moments before he finishes. 4.C However, he’s also willing to jump out a window and tackle Major Major when Major Major tries to escape confrontation. Yossarian’s aggressiveness once you begin to pair it with his reasoning starts to paint a fuller picture of Yossarian. He’s a man fully screwed over by circumstance, desperately trying to escape an unfair death, and getting rather desperate. 3.A We’re introduced to the events in Yossarian’s life in a relatively arbitrary manner. We start with him in the hospital hiding from combat duty for what the audience can only assume is complete cowardice. 3.B However, as Yossarian’s unjust circumstances are slowly revealed the audience begins to grow sympathy for Yossarian and starts to understand his actions. Yossarian is so cowardly because he has seen his friends die violently in the midst of combat. He’s so desperate because he was meant to be put off combat status a long time ago, already having done double what was originally required of him while still being unable to escape. At first the audience would be somewhat against Yossarian and the rest of the troops, but after learning about the unlucky circumstances that practically trap them in duty, turn to the intentional inefficiency of bureaucracy and the incompetent officers with disdain.

Wow! I totally agree with everything said here!! However I want to add a critical theory, the psychological criticism. I want to add that Yossarian's motives to live are very primitive, his only goal is to survive due to his unfair circumstance. This goes hand in hand with the psychological criticism. I want to tie back to the individual's psyche, the id, ego and superego. The id reminds me most of Yossarian, as he is trying to survive and avoid death which is an instinctual part of humans. His need for survival is extremely strong to the point where he needs to physically avoid death. I want to add too that Yossarian doesn't do anything to stop this, his superego in this case isn't of any work because he isn't repressing his urge to either avoid flying or from physically assaulting someone because he is so desperate to go home and get out of a dangerous situation. 

[Asia 1]

In the great Gatsby by f Scott Fitzgerald. The novel goes deeply into the complexities of characters, particularly Jay Gatsby and Daisy Buchanan. Gatsby embodies the American Dream, pursuing wealth and status to win Daisy's affection. His mysterious past and idealized persona epitomize the illusion of the American Dream. Daisy, on the other hand, symbolizes the superficiality and moral corruption of the wealthy elite. Fitzgerald employs a non-linear narrative structure, using flashbacks and shifting timelines to unravel the story. This technique mirrors the elusive nature of memory and perception, highlighting the subjective nature of truth. For instance, Nick Carraway, the narrator, recounts events from his perspective, often revising his initial impressions as he gains new insights.Nick Carraway serves as the unreliable narrator, filtering the events through his biased lens. His privileged background and proximity to the characters shape his observations and judgments. This narrative device invites readers to question the reliability of the storytelling and encourages critical analysis of the events portrayed.Fitzgerald employs rich figurative language to evoke vivid imagery and symbolism throughout the novel. One striking example is the green light at the end of Daisy's dock, which symbolizes Gatsby's unreachable dreams and the nature of the past. Additionally, the use of weather symbolism, such as the oppressive heat of the summer, mirrors the escalating tensions and emotional intensity of the characters' relationships.Fitzgerald's portrayal of the decadence and moral decay of the Jazz Age aligns with Harold Bloom's theory of the anxiety of influence. Through his critique of the superficiality and materialism of the 1920s elite, Fitzgerald challenges the cultural norms and exposes the underlying emptiness of the American Dream. Gatsby's tragic death as a cautionary tale, highlighting the consequences of chasing unattainable ideals and that accompanies the pursuit of wealth and status.

[aidan k]

Feb 22, 2024 9:29:25 GMT -8 chrisnavas said:

In the novel East of Eden by John Steinbeck, Steinbeck uses the first-person perspective of himself, placing himself in the story in order to become a narrator placed within the storyline of two families. His perspective makes the text feel more personal by connecting his own thoughts and feelings, by adding breaks between chapters, so the reader can feel the effects of the events and more emotionally present. While the story is told narratively, Steinbeck becomes the omnipresent figure inside the story of his familial lineage, dating back to his grandfather (Samuel Hamilton) and an important figure in his life, Adam Trask (1.A). Whenever a character is introduced, Steinbeck gives a complete recount of the characters internal thought process and perspective alongside events that have created the person they are today. These different thoughts and perspectives overall provide the overall meaning of the text, which is the effect that love can have on families and individuals and that love and kindness towards others is overall a choice you make within yourself: "I have a new love for that glittering instrument, the uman soul. It is a lovelt and unique thing in the universe. It is always attacked and never destroyed--because 'Thou Mayest'" (Steinbeck 304), whilst using biblical allusions. Adam Trask is a character deprived of love all his life, yet he gives abundantly to others, along with Samuel Hamilton. Cathy Kate Ames is given the fundamentals in life and is somewhat blessed with beauty and wit, but she uses it for "evil" and uses others for her own capital and emotional gains, along with Charles Trask. It is mentioned in the novel that Cathy is everything Adam is not--which is the perfect definition of a foil character (1.C). Cathy believes there is no good in the world because she has no good inside of herself, whereas Adam believes there is a goodness within others although (or maybe even because) he has gone through so much (1.E). Steinbeck uses this foil of the biblical allusion of Cain and Abel (Cathy and Adam, Charles and Adam, Cal and Aron) in order to show the way people can interpret love for good or for evil. Cathy is a sort of satanic figure under the guise of Eve in the garden of Eden. Her unruliness and misinterpretation of love given her as well as blessings are her demise. Adam's later encounter with Cathy while she works in a sleeperhouse, gives him pleasure, because he knows she isn't happy with the world she has built around herself. Defying common conceptions, Steinbeck reasons that Adam is happy because he knows that their romantic seperation was not of his own fault, but because of Cathy's internal battle with herself, so he can finally be at peace with himself. Likewise, she feels bad about her actions and she resents anyone who can figure out the vices within herself. Furthermore, Cathy is messy and complex at the same time: "All great and precious things are lonely." (Steinbeck 523). Steinbeck uses the interpersonal value within Samuel Hamilton, Tom Hamilton, Cal Trask, and Lee in order to illustrate that although these characters face conflict and solemnity through solitude, they feel the utmost amount of joy compared to others.

I agree with your analysis that Steinbeck uses the biblical allusion of Cain and Able, which I believe is a chapter of HTRLLAP. While I haven't read this book, your interpretation of Steinbeck's allusion makes sense and to me, is ingenious. I wonder if he uses other biblical references in the rest of his novel? Using allusions like this can make the story easier to understand for those that understand the reference.

[andrewcastaneda]

In Yann Martel's "Life of Pi," the dynamic between the protagonist, Pi, and Richard Parker the Bengal tiger he is stranded alongside, exemplifies a compelling foil character relationship (1C). Richard Parker's wild, carnivorous nature sharply contrasts with Pi's initial innocence, highlighting Pi's adaptability and resilience when faced with adversity. As the narrative continues, the start contrast between man and animal elements illuminates Pi's adaptive nature, revealing how challenging circumstances unveil recently unfound strengths, such as his quick witted survival tactics when dealing with Richard Parker. The contrast between Pi and Richard Parker not only sheds light on Pi's adaptability but also emphasizes his transformational journey of self-discovery. The novel's stream of consciousness disrupts chronological progression during moments of reflection (3B). This would be when Pi delves into non-linear thoughts, such as when he is in a tough spot and is contemplating survival or when he is contemplating faith whilst stranded at sea. This plays the important role of providing information on Pi's ever-changing thought process as he faces this troubling issue of being stranded at sea. throughout the main portion of the text there were many symbols, but the most repetitively used symbol would have to be the lifeboat in which pi travels on while stranded (5C). The lifeboat embodies survival, hope, and the delicate balance between life and death, serving as a physical capsule of Pi's journey and a metaphorical vessel for this transformational journey. In essence, Yann Martel seamlessly weaves these foil characters, interrupting streams of consciousness, and symbols to offer a though-provoking exploration of human resilience and the complex connections between vulnerability and strength. 

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