And Edward Said has suggested that Jane Austen's novels should be interpreted against a background which is excluded from them: the exploitation of the colonies of the empire which provides the wealth to support a decorous life at home in Britain. Meaning is context bound, but the context is boundless, always open to mutations under the pressure of theoretical discussions (Culler 92)
In fact the Roman historical "tradition was not fixed in writing until the last centuries of the Republic." (Cornell, p
Livy acknowledges the mythology surrounding the creation of Rome, so that its creation-story is not factual, and also reveals his personal bias by acknowledging that his interest is in focusing on the morals of the community, and how Rome has declined as the standard of morality has declined. (Livy, Preface)
Raaflaub disagrees with Cornell's perspective, because Raaflaub believes that the annalists created a literary genre, which had a "peculiar characters and scientific shortcomings that drastically reduce[d] its source value and disqualifie[d] most of its content for the task of reconstructing the history of archaic Rome." (Raaflaub, p
The dreadful, inescapable fact is that there was no written history of Rome before about 200 B.C." (Wiseman, p
McLeish states that the civilized Christians are a "cancer, and as they thrive they kill their host" (McLeish). We read that when they send missionaries to other villages, we read that it was a "source of great sorrow to the leaders of the clan" (Achebe Things Fall Apart 143)
Jonathon is to be admired because he has survived the war and he is simply happy that he has his wife and children. Rena Korb notes that the story "captures a spirit of optimism" (Korb)
Rena Korb notes that the story "captures a spirit of optimism" (Korb). Susan Sanderson agrees with this idea and observes that the story also "teaches its readers about survival and about the merits of a never-say-die attitude" (Sanderson)
Derrida insists that every text is undecidable in the sense that it conceals conflicts within it between different authorial voices -- sometimes termed the text and subtext(s); every text is a contested terrain in the sense that what it appears to "say" on the surface cannot be understood without reference to the concealments and contextualizations of meaning going on simultaneously to mark the text's sign) ficance (e.g. The use of specialized jargon) (Agger)
Some argue that postmodernism can be recognized by two key assumptions. The first is that there is no common denominator - in 'nature' or 'truth' or 'God' or 'the future' - that guarantees either the One-ness of the world or the possibility of neutral or objective thought; and the second is, the assumption that all human systems operate like language, being self-reflexive rather than referential systems - systems of differential function which are powerful but finite, and which construct and maintain meaning and value (Hjorland and Nicolaisen)
Therefore, poststructuralism was a break from the structure approach that considered behavior from something of a materialistic perspective and represented a response to the theory that human culture can be accurately modeled in a structural way. Like modernism, structuralism rejects traditional modes of thought, attempts to reconstruct academic disciplines on the basis of a few fundamental principles and strives to work with reconstructed terminologies and axioms; like post-modernism, post-structuralism is characterized by the necessity of finding ways to continue research based on the fragmentary results left by structuralist projects (Posner)
Structuralism itself had addressed the concepts of materialism, atomism, historicism, and naturalism by introducing its own methodology built around the dichotomies of signified and signifier, paradigm and syntagm, synchrony and diachrony, langue and parole (Posner). Post-structuralism has had, and continues to have, a fruitful and formative influence on performance studies and under the aegis of post- structuralism, new ways of studying performance have been introduced into performance studies; Post-structuralism has helped expand the range of what is considered "performance," including but far surpassing the "performing arts" and performance, and its sister, the performative, now are seen to inhabit just about all aspects of human thought, expression, and behavior (Schechner)
The two concepts are so deeply related that it is often difficult to distinguish them on any other basis other than what the scholars title themselves as. Some establish the differences in the two theories by the fact that postmodernism tends to work within a certain period with different juctures whereas post-structuralism is more geared at trying to deconstruct the ideas of essentialism and trying to produce more discourses (Sleigh)
Anna Karenina The reader is moved to agreement, and perhaps to smiling knowingly when reading the first lines of this novel: "Happy families are all alike; every unhappy family is unhappy in its own way." (Tolstoy 15)
The time and place are highly specific, yet the pursuits of the characters, while individual, are also universal. Through Pierre then, Tolstoy depicts the human search for intoxication through love and life (Farrell 11)
"Centuries and centuries if idealism have not failed to influence reality. In the most ancient regions of Tlon, the duplication of lost objects is not infrequent" (Borges, pg
"The story won't tell" said Douglas; "not in any literal vulgar way." "(James, 9)
The grow worlds apart and seem unable to find a solution. "Since they could not understand him, no one, not even his sister, thought that he might be able to understand others, and thus, when his sister was in her room, he had to be content with listening now and then to her sighs and invocations to the saints" (Kafka)
It just didn't seem to matter one way or the other." (Murakami, 465)
Nevertheless, it transgressed in the literature world on the American Continent and it designates the capacity to discover in a certain common object extraordinary attributes, thus showing its magic. (Zamora) Jorge Luis Borges and Gabriel Garcia Marques, two Latin American writers were among those who embraced what it became a literary genre (http://www