In lieu of an abstract, here is a brief excerpt of the content: Both readings have their limits and privilege the performance either of class or of sexuality in the play.
The whole thing is performance and prowess and feats of association. Why don't critics talk about those things—what a feat it was to turn that that way, and what a feat it was to remember that, to be reminded of that by this.
Why don't they talk about that? That was really why you did it. He had never realized that before. It was simply that it was the greatest pleasure. It had more bite to it than anything else. It was so damn hard to write well, too. He felt like reading. We put an asterisk or a question mark in the margin of our text to signify our intention to come back to the passage, because there's something perplexing in the alternatives Nick postulates for himself.
There seems to be a misstep or lapse in the tone. Can we imagine Nick saying these words to himself?
If so, could he be kidding? Is there a kind of rueful self-mockery at his bookish evasiveness?
For instance, the narrator's voice and the character's voice seem sometimes distinct, sometimes merged. Or, now and then, through the migration of particular words or phrases, other voices or traces of voices obtrude from earlier stories in In Our Time or from earlier passages in this story, with confusing or distracting associations.
In certain passages the writing has a studied, even pedantic posture, while in others it appears to move with the freest improvisation—until another re-reading makes these categories appear less stable. Finally, this is a text in which both character and narrator seem to be involved in the process of writing as it goes along, self-consciously, often even playfully, trying out phrases and locutions, reaching for ways to conjure verbal consciousness out of feelings and sensations.
Questions like these, irritating or amusing from reader to reader, invite responses that deviate from our usual strategies of interpretive analysis. Reading and re-reading this way—with a kind of perverse distractibility—tends to fragment and disperse the text, of course, and to disrupt narrative sequence.
Yet when we rough things up a bit we are more likely to spot those inconvenient details and patterns—loose ends, hiatuses, undecidables—that often embarrass readings that strain after complete coherence and certitude. It so often ingeniously declines to assent to what it so often confidently asserts.
Like it or not, writing will slip away from its official chores and dally with an excess of meaning. At the climax, when Nick has lost the big trout, we read:Being critical earnest essay importance.
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Earnest Hemingway Essay Words | 13 Pages. Earnest Hemingway As one of the 20th century's most important and influential writers.
His writings drew heavily on his own experiences for his writing. More about Critical Analysis of " a Farewell to Arms" by Earnest Hemingway.
A Farewell to Arms by Ernest Hemingway Essay Words | 8 Pages;. The Importance of Being Earnest Homework Help Questions. In the play The Importance of Being Earnest, explain the theme of "the dandy" (Wilde as Algernon).
Importance of being earnest critical essay. November 25, Importance of being earnest critical essay. 5 stars based on 61 reviews essay of south african war medals dr memory invalid heap argumentative essay la piba del blockbuster analysis essay be critical essay on hamlet.
Essays and criticism on Ernest Hemingway - Critical Essays. The Importance of Being Earnest as Social Criticism Perhaps the most balanced discussion of Earnest’ s sexual politics comes from Eve Kosofsky Sedgwick’s essay, “Tales of the Avunculate.”.