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The eye and the I: How the writer blurs the boundary between reality and fiction ?

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The eye and the I

The writer likes when reality meets fiction and likes the reader to questioning himself about the authenticity of the story.
How the writer blurs the boundary between reality and fiction ?

I- First => Virginia Woolf=> The « stream of consciousness » => By reproducing the flow of thoughts in humain brain. Very subjective, Very fluid => Imagery of water, long sentences, rhetorical question.Woolf writes very long sentences, often resorting to numerous adjectives, comas, baskets as if she wanted to express the flow of thoughts, perceptions, memories, mouvements in human brain which is by definition impossible in writing, since one word can only come after another. She wanted to find a form of writing that conveys everything that is happening at the same time. She attempted a new form of writing to express better a woman’s stream of consciousness. By using the sustained metaphor of water, she gives an impression of a continuous flow. Very early in the novel, the word « beach » introduces the 
metaphor. This metaphor is very apt to convey the constant flow of London traffic , of Clarissa’s perception, emotions but also  Clarissa sense of her own  undoing, dissolution, unavoidable death. It is all the more striking as Virginia Woolf choose to end her life drowning. Is Mrs alloway, the reflection of Virgina’s state of mind ?

II- Then, The Killers  Hemingway => By using an objective point of view.  The short-story starts in medias res. The reader doesn’t know anything about the characters and their intentions. The writer lets the reader in the dark, as if the reader was the witness of a scene he wasn’t allow to watch or as if he was the member of the audience during a theater piece. 
 It seems to be a casual scene. We could imagine that the scene takes place in a dark area. In order to be as objective as possible, Hemingway hit upon the device of describing a series of ellipsis by using short, simple sentences from which all comment or emotional rhetoric has been erase. These sentences are composed largely of nouns, verbs and have a few pronoms and adverbs. It relies on repetition and rhythm for much of their effect. The resulting terse, concentrated prose is concrete and unemotional yet is often resonant and capable of some great irony through understatement. Hemingway’s use of dialog was, simple, and  natural-sounding and increase the impression of reality. These seen can be seen as an extract from a script.

III- Eventually => By metafiction => literacy device used to self-consciously and systematically draws attention to a work’s status as an artifact. => A long-short story by William Boyle. This short-story is cut in two parts : Part one and part two. They correspond to two different versions of the same story. Part one, we read the main character’s point of view whereas, in part two, we read the author point of view. This short story is a metafiction. Indeed, the author is addressing directly to us. He uses metalepsis. The lexical field of 
deception (« artifice » « lies » « hide » « implausible » « joke » « misleading » ) is opposed to the lexical field of reality (« realistic » « true »). He questions us about the authenticity of the 
novel (L 26-27). In addition, the author defines his fiction as a « relentless artifice » and after as « a lie ». He tells us that he made up an imaginary plot, that he stretches the truth. Can we believe him or not ? Is the narrator the real author or a replica ? This short-story raises questions about the relationship between fiction and reality.

In the nutshell, the writer likes playing with their reader. At the same time, the author wants to makes the reader believed to his story.  His purpose is to push the reader to swallow the bate. Nevertheless, he knows that the reader is conscious of the fictional aspect of the story 
and play with it.

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