Writing Essay Proposals

Writing Essay Proposals-71
Buddy, like his trickster creator, seems to be almost daring the reader to accuse him of invention.Salinger also incorporates visual tricks in his narratives in what Martin Bidney calls “aesthetic epiphanies” (117).And I propose to talk about these techniques and devices in the context of writerly tricks, games, and pranks.

Buddy, like his trickster creator, seems to be almost daring the reader to accuse him of invention.

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In the opening section of “Zooey,” Buddy says, “what I’m about to offer isn’t really a short story at all but a sort of prose home movie” ( 47).

Buddy’s proclamation of documentary is complicated by the fact that we know this is fictional story by Salinger and, even within the logic of the Glass family chronicling, it’s clear that Buddy was not there for the events of the story.

Realist art has the possibility for honesty, yet the portrait it produces is often unlikable; it depicts an accurate exterior at odds with the interior and the desired self-perception.

Romantic art demonstrates the artist’s ability, creating an image too beautiful to be representative of either the subject’s exterior or interior.

I hope to counteract this potential danger with a firm grounding in the precise intellectual history surrounding Shakespeare’s romances in early twentieth century Ireland.

While enduringly popular with the American reading public, particularly young people and aspiring writers, the works of J. Salinger have, somewhat perplexingly, failed to generate much in the way of serious scholarship./ The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass” (Wilde 3). Most scholars contend that Joyce is engaged primarily with Wilde as a fellow, near contemporary Irish writer.In this case the question is semi-historical and largely abstract.Bidney talks about how the turning point in a Salinger story is often accompanied by a game of , or the little girl turning her doll’s head to face Seymour in the poem in “Zooey.” Other forms of games and tricks in Salinger include the use of framing devices, the employment of a play-set New York that is at once familiar and fake, and the winking italicization of words and syllables to inflect layers of meaning.By using literary tricks and games and playfully drawing attention to his fiction’s constructedness, Salinger leaves his secrets hiding in plain sight.Yet an interpretation that prioritizes Joyce’s engagement with Shakespeare provokes prioritizing Caliban as a key touchstone for Stephen throughout the novel; if Caliban is the focal point, rather than Wilde, the concern shifts to the—far more comprehensive—question of Stephen’s desire for mastery of self-expression.Both Stephen and Caliban are highly aware of their relative lack of control over language, and a consequent lack of control over self-presentation.Shortly following the near-universal acclaim of , Salinger’s “Franny” and “Zooey” and subsequent installments meditating on the Glass family were met with increasingly critical resentment and weariness of Salinger’s devotion to a set of precocious, misunderstood geniuses, so much so that by the time “Hapworth 16, 1924” appeared in in 1965, it was “greeted with unhappy, even embarrassed silence” (Malcolm).Since then, many authors and fans have sought to redeem Salinger from a writerly perspective (Samuels; Kotzen and Beller), while his status in the world of literary criticism remains uncertain.I plan to trace this paradigm first through the Telemachiad, honing in on Joyce’s combined incorporation of Ariel’s song into Stephen’s extended meditation on a corpse on the beach at the close of “Proteus.” “Aeolus” is likewise a point of interest as it most directly addresses Joyce’s preoccupation with rhetoric and style, and Stephen’s linguistic reticence, self-consciousness, and susceptibility to persuasion.I also plan to examine the various mentions of linguistic and artistic schematics.

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