Literature

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.

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.

Where there is language, there has always been poetry; for it is not only an art, but also a means of expression. But it has metamorphosed over the years, either in form or in the manner of dissemination. While it is natural that just as there are recognised masters of the art, there will always be amateur poets, the only factor that delineates amateur poetry as the seeming curse of modernity is the rise of the internet, and with it, of blogs and social media — heralding the rise of the so-called "Instagram poets" or "Tumblr poets." Gone are the days when the publication of your works were at the whim of those who controlled the press.

As with any activity, there is a spectrum of talent to be found. While there are those who put line breaks into epigrams and call it poetry, there are also writers of free verse with compelling metaphor and imagery. However, any amateur poet who shares this work faces a debate as to whether they can be called legitimate poets. Discuss: what is the need for this debate? What are the factors leading to this debate? Do the arguments posed hold water? Is it not a form of elitism to generalise the quality of self-published work? What can we do to acknowledge this shift in the nature of content creation?

I'm a writer, and right now, publishers and agents are warning fellow writers not to craft pandemic plotlines yet because it's too soon and we are too close to the event. However, what might pandemic-centered fiction look like when the crisis is safely past and we are able to examine it with a distant, critical eye? Discuss the elements of the pandemic that might make the best fiction. What kind of characters might be most compelling? Are there certain tropes or plot twists that would lend themselves well to pandemic fiction? Also, consider whether pandemic fiction could fit into already-established genres or sets of titles (i.e., Camus' The Plague, Love in the Time of Cholera, young adult titles like Laurie Halse Anderson's Fever 1793, etc.)

Analyze the role of hubris within Œdipus in Œdipus Rex. Specifically, look at his confidence that he can solve problems of the curse of the gods in Thebes as a result of a mother marrying her son, how he believes that he is the solution to the problem instead of the problem itself. His edict that the cause of the curse is to be banished causes him to investigate affairs of the Thebian State, which culminates in discovering that Œdipus himself was the source of the curse in marrying his mother. How does hubris operate in these broad parameters? What role does truth and curiosity play? Are these things good?

The 1958 novella by Truman Capote 'Breakfast at Tiffany's' offers its readers a sneak peek into the lavish lifestyle of early twentieth century New York. The main protagonist, however, had become the centre for much debate among feminists. This topic would entail a balanced analysis of the character of Holly Golightly – is she the source of empowerment for women through liberating herself in the ways described in the book? Or is her personality simply an archetype, a false stereotype for a certain demographic of women?

Les Miserables passim has themes of reform, personal development and redemption. These premises are contained within the character of the protagonist Jean Valjean, particularly after his theft and forgiveness therein of his theft of a silver candlestick holder.

These themes however are much more prevalent in Inspector Javert. He has an ultimate moral quandary expressed in his pursuit of the criminal Valjean. He held a virulent belief that the law was the correct course of action. His observations of Valjean’s deportment clashed with his fundamental beliefs on the law. This creates the quandary. Since he could not resolve the quandary, he committed suicide toward the denouement.

Analyze Javert’s thoughts, actions, et alii in his pursuit of Valjean and how it advances the themes and aims of the literature, and ultimately its plot and thesis. An example of a key moment would be where Javert interacts with Valjean as mayor, when Valjean has another identity.

Remarque's All Quiet on the Western Front is considered the greatest war novel ever written. Why is this book singled out? What makes it so different from other literature about war? This article would examine themes, setting, and characters and look at why the book has remained so timeless. (Comparisons to the movie/s can also be made.)