This article explores the life and writings of a reclusive giant in twentieth century literature, Juan Rulfo. While authoring only one novel, _Pedro Páramo_, and one short story collection , _El llano en llamas_, Rulfo achieved extreme fame and admiration from other writers such as Jorge Luis Borges and established himself as a pivotal influence on Gabriel García Márquez. This text will address and analyze the basic plot and themes of Rulfo's work, and educate readers on a lesser known great Mexican author.
Aspects of Rulflo’s Pedro Paramo to consider, The:
1.)environment where the story takes place. A brief overview of Mexican geography, culture, literary history, Catholicism/purgatory, and the Day of the Dead.
2.)disjointed and fragmentary nature of time which adds to the dreamlike quality of the novel.
3.) lack of chapters and signifiers of who is speaking, forcing the reader to fill in the missing information on their own.
While reading the novel, you will probably see how all of these themes intersect and amplify each other.
Regarding the influence of Rulfo on García Márquez, it would be good to look into what García Márquez himself said about Rulfo and his writings. There are also parallels that can be drawn between Rulfo’s town of Comala and Marquez’ town Mercado. These are just recommendations and are by no means definitive guidelines. It would be best for you to use your own discretion and aesthetic discrimination while exploring and contemplating these great texts.
Hi, J.D. thank you for the feedback. I think MLA style guide says to use _ in digital environments where italics are unavailable. I attached a link as an example of this advice:
https://style.mla.org/underscore-instead-of-italics/ – kurtz4 years ago
The emphasis today is on getting through the day and we forget to romanticize life. Why have human beings lost connections with nature and self?
Discussing literary critic John Ruskin's ideas of the pathetic fallacy could work when building an argument around the emotional connection between nature and self. He noticed that the people in art (including poetry) had disappeared. As in, people were less frequently being depicted in art during this time. And so instead, human emotions were being assigned to aspects of nature. More than this though, he proffered that it was the emotional state of the human reflected into the natural aspects of the artwork. You can find this practice in the poetry of Keats, Wordsworth, and most of the big six. (This is a very rough summary of his argument, of course, Ruskin's book Modern Painters would be the text to refer to for the far more eloquent expression of his idea). – Samantha Leersen4 years ago
Romanticism isn’t necessarily dead, but rather it’s bland and not as interesting anymore. – kyeferreira4 years ago
The contemporary man is rejecting romanticism objectively. Emerson, Whitman, Thoreau has not emphasized that there would be a day when we lose our connection with naturalism, but they have glorified romanticism enough to imply that. – metamorphicrock4 years ago
This is a particular kind of Romanticism called Naturalist Romanticism. This narrows this topic somewhat in its own right but whoever decides to write this may benefit from further narrowing. I would recommend looking at a particular nation’s naturalist literature of the Era. The richest would be the United States (c. 1820-1900), the United Kingdom (1798-1837), and France (1789-1914). – J.D. Jankowski4 years ago
I agree that it's not dead, but perhaps it's taken a back seat since now we explore things virtually. The pandemic especially has made this more prevalent. – Ndeu3 years ago
The pandemic certainly has changed how the natural world is thought of. As we spend less time in the world we’ve created for ourselves many people find themselves returning to the natural world. Popular social media apps such as Instagram and Tiktok bring a fresh perspective to time-honoured traditions such as foraging and gardening. It would definitely be interesting to look more closely at the at the effects of a pandemic in forcing people to reconnect with nature. – mielcheveux3 years ago
When first written by Mary Shelley, Frankenstein's Monster was an intelligent, eloquent, and even sympathetic-in-some-lights character. The character underwent an evolution in popular culture to become an easily recognizable horror monster – a big, green, lumbering, incapable of speech or intelligence brute. Recently though, there has been a shift back to depicting Frankenstein's monster as a misunderstood character who is equal to humans with emotions, intelligent thought, and a desire to belong. Why and how has this evolution has happened?
Covering the movies, Frankenstein and Young Frankenstein may prove helpful. – J.D. Jankowski4 years ago
I like this idea. It might be interesting to approach it through the scope of the ever-evolving social stigmas/beliefs surrounding mental health, trauma, and/or identity. More so than in generations past, modern society tends to discuss such issues more openly, and therefore, modern readers may feel more inclined to identify with monster and less inclined to demonize him. Of course, the focus will need to be narrowed (mental health, trauma, and identity are all huge topics to tackle), but these are just some ideas to consider. – JCBohn4 years ago
In Dante’s fictional journey to hell with Virgil the poet as his guide, the vast majority of the damned that are encountered want Dante to tell of them back in the temporal world. Examples of this are Dido, Queen of Carthage (ironically written about in real life by Dante’s guide) and Ciacco the Glutton (blatantly so considering that “ciacco” is the Italian word for pig, and he behaves and looks as such).
Analyze why those in Inferno want to be remembered. Is it because this is the only joy that they have left in their horrid states (to be remembered and with the possibility of being remembered fondly)? Indeed those that do not want to be told of (mainly in the 9th Circle) did things so horrid that no fondness would be drawn in being remembered. Or is it for a more selfish reason? Does this express subtlety that pride both goes before the fall and is at the root of all evil and feeds all other evils?
Upon Œdipus’s self-imposed exile from Thebes for being the reason the city held a divine curse (on account of his marriage—unwittingly—to his mother Iocaste), his sons fight a civil war (Œdipus at Collonus) to determine who will rule Thebes. The result is that both sons kill each other by each other’s hand in battle. Creon becomes king (Antigone) and refuses burial of the rebellious son, and orders that anyone who would bury him to be executed. Antigone, the sister of the brothers, assisted by their sister Ismene, buries the body. Creon initially orders her imprisonment and execution. He vacillated at this decision but too late as Antigone and Ismene committed suicide to highlight Creon’s unjust actions.
Analyze how much of this is the result of Œdipus and why this is the result. Is it the result of Œdipus’ union with his mother? Or is it his curiosity (See Œdipus Rex)? In these plays, do the children suffer from the father’s sins, or are they the authors of their own tragedy? Bear in mind that the mindset of Ancient Greece held that any wrongdoing any person committed was under strict liability (intent does not matter; the act itself is good or evil). What kind of critique, if any, does the author Sophocles (a citizen of the Athenian Republic, which held the heart of Hellenic democracy) make of the rule of kings. Could this be a critique on the rule of the Spartans (Athens’s historic rival; a monarchy)?
Today, it's common for writers to use Meyers-Briggs, Kiersey, Enneagram, or another personality test metric to type their characters, or at least to determine how characters might act in certain situations. Even if writers don't consciously do this, their characters can often be "typed." For instance, many people discuss the Meyers-Briggs or other types of characters in popular series like The Hunger Games, Harry Potter, Percy Jackson, and so on.
In exploring literature, what personality types do you think come up most or least, and why? For instance, do you think authors tend to create characters based on their own personalities? Are you attracted or repelled by certain types of characters–say, a bookish yet adventure-seeking character like Jane Eyre, vs. a "trickster," street smart character like the Artful Dodger?
By the way, the ISFJ is definitely in the realist camp. In general it would be the N-types gravitate toward the idealism. – J.D. Jankowski4 years ago
I've found that especially in YA literature, the main character is the clichéd portrayal of 'nerd' or 'introvert' - i.e. shy, wallflower, bookworm, etc. In some literature that starts out this way, this character often turns out to be more confident and outgoing than previously believed, thus becoming more likeable in the subjective eye of the reader. While it seems to be quite popular in modern fiction, I lean towards liking the characters that appear to be introverts and bookish and actually are. – MishaniK4 years ago
I feel like sensory (Se and Si) types tend to show up more in YA stories because the narrators often describe their immediate surroundings without getting too big into abstractions or making elaborate connections out of vague ideas (like someone with Ni would do). – Emily Deibler4 years ago
The word Bildungsroman is often used interchangeably with the term coming-of-age when describing growth-oriented literature. However, they are not necessarily the same. A Bildungsroman text is one that focuses on the psychological growth of a character. It follows said character from youth to adulthood, especially as they find themselves in difficult situations. Coming-of-age, however, is more of a broad umbrella term for any story about growing up.
Through using one or more Bildungsroman and coming-of-age texts, the writer of this article could explore this difference. Some points to consider are the way a Bildungsroman is structured in four sections (loss, journey, conflict/growth, and maturity). Also, the way a Bildungsroman focuses on the entirety of youth, not just a small portion of it.
Conversely, the coming of age text chosen should be used to show the ways that it is different from a Bildungsroman (such as, for example, focusing on only a month or year of youth). An article explaining these differences, with examples, could be an informative and educational read.
I was always kind of under the impression that a Bildungsroman was a subset within coming-of-age stories. As in, every Bildungsroman is a coming-of-age story, but not every coming-of-age story is a Bildungsroman. – Debs4 years ago
Very helpful. A bildungsroman appears to apply to even older individuals such as Valentine Michael Smith in A Stranger in a Strange Land; whereas, coming of age stories tend to be just that something central to the transition from childhood to growing up and coming of age as an adult. – Husen6 months ago
Fiction loves a fat character…if that character is antagonistic and held up for ridicule or villainizing, that is. Antagonistic and fat characters can be found in all kinds of fiction, from Mr. Bumble in Oliver Twist, to Dudley Dursley in Harry Potter, to the sea witch in almost any form of The Little Mermaid, to (occasionally) the witch in Hansel and Gretel. To twist the knife further, these characters are often juxtaposed against "good," but malnourished and pitiable, characters from whom they take even the basic necessities (food).
Of course, there are some fat protagonists in classic literature or myths and fairytales, as well. Santa Claus, typically portrayed as fat, is a personification of goodness and charity. The Ghost of Christmas Present, when juxtaposed with the gaunt yet greedy Scrooge, is a reminder that "fat" can also be healthy, prosperous, and joyful. However, most fat characters tend to be either 100% good or 100% bad in "older" forms of literature.
In the last few years, authors have become more aware of these issues, and there are now more body-positive books, especially geared toward young women. However, some of them are not as positive as they seem. Dumplin', for example, stars Willowdean, a fat girl who competes in a beauty pageant to show she's worthy to…but then has to watch a "typical" contestant win. Watch Us Rise has Jasmine, a black girl who is put down and demonized for being both black and big. One Fat Summer has Bobby, who begins to find inner peace and acceptance by his social circle…after losing weight.
How has "fat phobia" in fiction evolved and changed? How is it influenced by how our modern society views body size? Throughout the article, you might explore questions such as, what size constitutes fatness, how fat characters could be represented as more three-dimensional, and whether stories about body size lend themselves to fat phobia or pigeonholing fatness by default.
This is a fascinating point. Often times the representation of fat characters are sidelined to serve the interests of the main character. Their stories are underdeveloped or nonexistent, they are allowed little to no dimension as a character, and are mainly there to act as props.
The reason behind having "bad" fat characters could serve multiple purposes. Firstly their size could be a representation of gluttony such as the mayor in City of Ember. It could act as an abuse of the representation of fat individuals, specifically men, as being perverse, unkempt, or sexually undesirable. Or their fat bodies could act as a juxtaposition of their malnourished moral state, with the "weak" physique being representative of a "weak" character.
The "good" Fat character needs to have the subcategory of the fat funny friend. This trope is rampant in 2000s comedies, using fat characters as throw away people used for laughs. Though some claim it is progressive, since they are taking control of it and taking ownership of their representation, it is still regressive in nature. More often than not they are laughing AT the character not WITH them, and they are still only used as a parallel to the thinner main character. This subcategory also feeds into the "always jolly" characteristic which can be damaging in its own right. Rather than allowing the character their own pains, struggles, and complexity, they are denied the ability to exist in their own right. This kind of representation says that their whole identity is found in their physical appearance and weight, not their personality.
Though flawed, a more progressive representation of the "fat" best friend can be seen in Sookie from Gilmore Girls. Though the main character is still a slim white woman with sexual magnetism, Sookie's weight is never addressed even in passing, she is allowed developed storylines and has a discernible personality that grows over time. She is allowed to exist as a person, not just according to her physical appearance. – LadyAcademia4 years ago
