✯✯✯ Not So Hard To Find Foreshadowing Analysis

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Not So Hard To Find Foreshadowing Analysis



Finally, the grandmother thinks only about herself, not paying enough attention to the family. You really shed Not So Hard To Find Foreshadowing Analysis lot more light on the ending of the story than I have. I would Not So Hard To Find Foreshadowing Analysis that the baby is the protagonist. In Not So Hard To Find Foreshadowing Analysis to Not So Hard To Find Foreshadowing Analysis comments, please make sure JavaScript and Cookies are enabled, and reload Not So Hard To Find Foreshadowing Analysis page. Often the poet communicates Not So Hard To Find Foreshadowing Analysis by selecting words with particular connotations. Essay On Inner City Schools other than Tom's physical attraction to Myrtle, we don't get as clear of a view Not So Hard To Find Foreshadowing Analysis his motivations until Ibn Battuta Research Paper on. Darnell Evelyn M. Some democrats were suspicious of Socrates, and may have King Penguins In The Movie Happy Feet that he had sided Not So Hard To Find Foreshadowing Analysis the extreme oligarchs, because of his prior relationships with some of them.

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It is also possible that Carver is using the lack of light in the story again to suggest, at least symbolically, that both parents are in the dark as to the affects that their fighting has on the baby till it becomes too late. There is also a sense of irony at the end of the story. Both parents want the baby and this is made clear by their fighting over him. However the last sentence suggests that neither parent may actually have succeeded in getting the child.

What are the different arrangements of the plot in the story? Carver may be using the setting to develop the plot. It is winter, which in literature is often used to explore death the baby may be killed at the end of the story. Also the darkness is approaching which may suggest not only that the couples relationship is over but that something dark is going to happen the baby.

The fact that the man switches off the light in the bedroom before going into the kitchen may also suggest something sinister is going to happen. Thanks for the comment Goot. Throughout the story the baby is viewed as a type of product by both parents. Something that they both want without giving any consideration to the baby. The last sentence of the story is deliberately ambiguous; that is, author has intentionally left several possibilities for its meaning. What are the various possibilities for answering those question?

I have however failed to find a particular tone since the narrator seems detached from the narrative. Who ended up with the baby? It is a mysterious story. Usually tone I think refers to the feeling that the writer in this case Carver is trying to convey to the reader and due to the actions of both parents fighting over the baby , I have suggested that the tone of the story is one of anger and aggression though I would agree with you that the narrator is somewhat detached from what is happening. Mood I think in literature refers to how the reader feels about or responds to a story. However I would agree with you that the mood between both parents is one of tension. I would also agree with your suggestion that there is a sombre atmosphere.

I think sombre could also be used to describe the tone of the story. Personally I think due to the actions of both parents neither parent may succeed in getting him. If anything the struggle for the baby I think may have resulted in a serious injury if not worse to the baby. It is for that reason I have suggested that there is a sense of irony at the end of the story, both parents want the baby but neither may actually succeed in getting him.

While both parents are fighting neither one of them seems to be focused on the well-being of their child rather they may be more concerned about hurting each other emotionally , though ironically it is possibly the baby who is hurt physically the most at the end of the story. It is possible that Carver is suggesting that when some people separate from each other or when a relationship comes to an end it may not always be amicable and that on occasions there may be conflict and hostility the parents in the story which may not only affect each individual or parent but there are also others too the baby who though innocent may also be affected.

Which appears to be the case in the story. Quite often in literature when a writer makes reference to a lack of light or possible darkness in a story they are usually attempting to symbolically link the darkness with something that may have already happened in the story or with an incident that is about to happen and which may not be a good thing or could be seen to be a negative or dark act.

It may be a case that by introducing the darkness into the story very early on, Carver was attempting to not only set the mood for the story but he may also have been using the darkness as a warning or indication for what was to happen later on in the story. Though we can never say for sure as to what has happened the baby at the end of the story, it is possible that by introducing the darkness, Carver was also suggesting that what was to happen the baby could also be considered to have been dark. Love the website! The story builds up towards the end, with the explicitly progressing conflict between the couple and the implications from the surroundings the light getting darker, the flowerpot breaking, the snow melting , to an apex where the stakes were at the highest and neither party was willing to or rather, had the choice to give up.

Thanks for the comment Siyuan. You really shed a lot more light on the ending of the story than I have. I like your idea about the title of the story too. And that by doing so neither party in this case the parents will get any satisfaction. So much happens in the story that is not said that I sometimes wonder is Carver also suggesting that what happens within a relationship or why a relationship may come to an end is only really known by the participants of the relationship. Hello Dermot! I agree with this. Usually, only both parties know what destroyed the relationship. Moreover, each party will have their subjective reason as to why it ended and the reason is usually not identical. Why do you think the main purpose the people are focusing on in the story is the baby?

Do you think he wants the baby so the baby which is a boy can have a father figure in his life? Thanks for the comment Reina. Thanks for the comment Genesis. For me though it would change the impact of the story it might have been nice to see both parents realise that their argument or fighting is causing trouble to their child. What is the character analysis in popular mechanics and how does the writer keep readers engaged in the story? Carver at different stages throughout the story manages to place a focus on all the characters in the story. With both parents fighting the reader is given an insight into how dysfunctional their relationship is, with neither parent backing down.

If anything both parents remain stubborn to the end of the story. Carver also manages to focus on the baby, though this is really only noticeable near the end of the story when the parents are physically fighting over him. But the reader is left aware that he is an innocent party throughout the story. Carver manages to keep the reader engaged by never letting the reader know as to why the parents are separating. We also never really know for sure what happens the baby.

The focus for most of the story is on the fight between both parents with the reader continually wondering as to what may have caused the separation. Also though the reader expects at least one of the parents to become aware of the affects of their fighting on their child. This never happens. The reader expects some type of resolution, though none is clearly given by Carver. With it being left to each individual reader to interpret what happens the baby. Do you think that it is possible that the baby was torn apart and killed. The mom was loosing grip and leaning back so she grabbed the other arm and the dad had the other end almost like they were playing tug of war. And when the dad pulled back very hard making it possible to split the baby just like how parents in a divorce can have split custody of a child.

And I think that the mechanics comes from the steps that is taken to have a divorce and we as a reader are looking into one of the steps. There is a good chance that the baby has been pulled or torn apart and killed. Though not necessarily how they would like it to be. You could also be right about the title of the story. Carver or his editor Gordon Lish may be using the title to highlight to the reader just how common or popular divorce is in society today. And as you mention the reader is given some insight into the mechanics of divorce by seeing both parents fighting. For the most part,the reader is left to imagine the emotion behind the words.

For most of the story the reader is left to imagine the emotions behind the words. I think maybe the mother is becoming aware of how both parents fighting is affecting the baby. If anything the mother is the first and probably only one of the parents to realise the affects the fighting has on the baby. She seems to be afraid. Where else does Caver use a verb to indicate tone of voice? There are a few other occasions in whereby Carer uses a verb to indicate tone of voice. Thanks so much and the last question. Which other verbs have special power because they are unusual?

What would you consider the writing style of this story to be? It is obvious that the tone is the tension between the couple. The second thing that stands out for me is the length of the paragraphs. Just how short the paragraphs are and how they act like steps to the final course of action taken by both parents. Carver also uses very simple or non-complex language throughout the story. Yet what happens at the end is far from simple or certain. Where there is no confusion with his word or language usage the reader is left unsure about what happens the baby at the end of the story.

Has this review been published somewhere else I can use? Hi Ricardo. Man, this was a hell of a story! Love your website BTW! Thanks for the comment Mohamad. I would agree with you. It is a great story and Carver like Hemingway at times gives very little away. This short story is very intriguing to me. On the surface, the writing style is very odd and seems to make little sense. But when analysed, you can see why little details and references are important to how the issue should be interpreted. It is slowly and aggressively being torn apart and, unfortunately, is put to and abrupt end. And although the outcome of who gets the baby is not what the couple is expected, the answer is clear. Neither one will get the baby. At least that is my interpretation.

Is the title supposed to be ironic in some way? Thanks for the comment and insight Ryan. I think Carver by way of the title of the story is being ironic. As I mention in the post there is a how-to style magazine called Popular Mechanics but neither parent appears to know how to raise a child or at least does not put the child first. Which many would expect a parent to do. I also like your suggestion that the baby himself symbolizes the parents relationship. Just as the relationship is being torn apart so too is the child. I just wanted to see if I could shed some light into this dark themed story.

Thanks for the comment Wilson. The line also suggests that the mother is determined to ensure that she gets the baby. She remains committed to the child. How is the theme of lack of communication portrayed or evident in the story? I hope my question made sense, and thank you in advance. Thanks for the comment Bayan. Due to the fact that the parents are fighting throughout the story rather than discussing positively what will happen the baby or who will end up getting the baby.

I included the theme of lack of communication. The only real thing happening between the parents is fighting rather than talking. Thanks for the comment Austin. What are the motivations for their actions and what would be a good theme statement for this story? Hi Jerome. The result of the parents motivations is to take ownership of their child. However without a backdrop to the story its difficult to say as to what is motivating the parents. Clearly they want their child for themselves however we never know as to why or how they reached this point. As for a thematic statement I imagine that Caver may be suggesting that those without a voice the baby should still be heard or taken into account.

More questions than comments. He believed life like prose has no exact ending except death , just another page is turned, the reader will have to make their own conclusions and continue. To my knowledge the only Carver story to have a happy sewn up ending, is Cathedral. Thanks for the comment Al. Thanks for the comment Daniela. It is most likely a expository narrative.

With Carver describing an incident. Love this website! I have a question. Thanks for the comment Daniel. It is possible that the struggle between both characters overrides everything else. They forget about what is really important the baby and carry on as though their struggle for the baby is the most important thing. Rather than remaining focused on the baby and his needs.

Thanks for the comment John. In the real world I would imagine there would be some police involved. Possibly having been called by a neighbour. Also the constant tugging on the child would leave a person in no doubt that the baby is being injured. Thank you for replying. I meant more on the lines of how would some of Carvers symbolism or metaphors connect with real world situations. Such as how you can tell the couple is struggling financially so they argue. Which is a very common occurrence on low income families. Sorry for the confusion John. They might not have a network in place to help them if they struggle financially.

Also both parents can only think about themselves which may suggest a lack of maturity. Similarly the mother holds the baby for most if not all of the story so there is an obvious attachment to the baby which the father is trying to break. By pulling on the baby. How do you think Carver argues about the nature of marriage? Thanks for the comment Kevin. Tricky question. In Popular Mechanics marriage is all about conflict. In Cathedral the husband finds it hard to understand how his wife could have a male friend and he appears to be jealous of the friend blind man. In Mr Coffee and Mr Fixit there appears to be acceptance for adultery. Here are some common examples of elements used as foreshadowing:.

The title of a literary work can be used to foreshadow its plot events. Here are some examples of titles that contain foreshadowing:. Foreshadowing is an effective device for nearly any type of literary work and most forms of storytelling media. This includes poetry, short fiction , drama , novels, television, and movies. Here are some famous examples of foreshadowing from these these forms of narrative :. Some readers may confuse foreshadowing and flashback as literary devices. Both techniques are designed to enhance the narrative of a literary work. However, foreshadowing is intended to provide readers with just a hint or sense of what is to come in a story.

Flashback is a literary device that interrupts a narrative plotline to present an earlier scene or episode in order to provide clarification or information for the reader. This works as a means of promoting and enhancing reader understanding of a literary work by setting forth context and exposition cues. Is Meno here honestly identifying a practical difficulty with this particular kind of inquiry, where the participants now seem not to know even what they are looking for? Or is he just throwing up an abstract, defensive obstacle, so that he does not have to keep trying?

To understand what Plato intends with his sketchy theory, we should compare the initial statement of the idea 81a-e , the alleged illustration of it 82ab , and the restatement of it after the illustration 85bb. According to the initial statement, all souls have already learned everything in many former lives, and learning in this life is therefore a matter of remembering what was once known but is now forgotten. But this is apparently an attention-grabber, dubiously citing unnamed priests and poets, who are just the kind of people Socrates later criticizes for having intermittent true beliefs rather than stable knowledge about their subjects 99c-d.

But more important is the fact that he legitimately helps the slave to work out the reasoning, and thereby see the way in which the unexpected answer was implied by other true beliefs that he already had. So the geometry lesson successfully demonstrates some of the beauty of Socratic education, and the power of deductive reasoning in learning. But the geometry lesson with the slave clearly does not demonstrate the reminding of something that was learned in a previous life. If a mind could always be in a state of having learned something, then there would be no point at which it learned that thing. This paradoxical phrasing turns the initial statement of the theory of recollection, which stretched a common-sense notion of learning from experience over a number of successive lifetimes, into the beginnings of a theory of innate ideas, because the geometrical beliefs or concepts somehow belong to the mind at all times.

Near this point in the dialogue, Socrates also states that after employing such ideas to elicit the relevant true beliefs, more work is still required for converting them to knowledge 85c-d. Some philosophers and experimental psychologists today agree that basic mathematical concepts, and the beliefs implicit in them along with many others , are innate—not as an eternal possession of an immortal soul, but as a universal and specialized human capacity determined in part by biological evolution.

In fact, while Plato seems quite serious about the idea that genuine learning requires discovering knowledge for ourselves on the basis of our innate resources, he has Socrates disclaim confidence about any details of the theory in this dialogue 86b-c. According to Socrates, the practical purpose of the theory of recollection is to make Meno eager to learn without a teacher 81ea, 86b-c. It seems that Meno is used to thinking of learning as just hearing and remembering what others say, and he objects to continuing the inquiry into the nature of virtue with Socrates precisely because neither of them already knows what it is 80d. The geometry lesson shows that we can learn things we do not yet know at least what we do not yet consciously and explicitly know if they are entailed by other things that we know or correctly believe.

And Socrates emphatically alleges that when the slave becomes aware of his own ignorance, he properly desires to overcome it by learning; this too is supposed to be an object lesson for Meno 84a-d. But Meno does not learn this lesson. He asks again whether virtue is something that is taught, and once again he wants to be taught about this just by being told 86c-d; compare 70a, 75b, 76a-b, 76d. This time Socrates apparently relents, but he warns that the rest of their discussion will be compromised by a flawed approach. He illustrates with a geometrical hypothesis that is notoriously obscure, but the corresponding hypothesis about virtue seems to be this: if virtue is something that is taught, then it is a kind of knowledge, and if it is a kind of knowledge, then it is something that is taught 87b-c.

Next, Socrates offers an independent argument based on a different hypothesis that virtue must in fact be some kind of knowledge, because virtue is necessarily good and beneficial, and only knowledge could be necessarily good and beneficial. Together with the hypothesis that knowledge and only knowledge is taught, Socrates would have proved that virtue is something that is taught. But there is something wrong with the hypothesis that all and only knowledge is taught. That requires working out the explanation for oneself 82d, 83d, 84b-c, 85c-d; compare 98a. This whole lesson was conducted in order to encourage Meno to try learning what virtue is, when he does not have a teacher to tell him what it is 81ea, 86c. So why would Socrates use the faulty hypothesis that knowledge and only knowledge is taught, when it contradicts his notion of recollection and his model geometry lesson?

Or is it trained? Or is it neither learned nor trained…. So Socrates could be quite serious in his lengthy argument that virtue must be some kind of knowledge 87ca , while reluctantly making use of the unsupported hypothesis that knowledge must be taught because, in effect, Meno insists upon it. Meno refuses to pursue knowledge of virtue the hard way, and he thinks that what he hears about virtue the easy way is knowledge.

After persuading Meno to take seriously his own favorite notion—that virtue is achieved through some kind of knowledge, rather than through wealth and political power—Socrates endeavors to convince Meno that learning just by hearing from others does not provide real knowledge or real virtue. Anytus believes that virtue can be learned instead by spending time with any good gentleman of Athens, but Socrates shows that this view is superficial, too. He gathers well-known examples of allegedly virtuous men who did not teach their virtue even to their own children, which indicates that virtue is not something that is taught.

He reminds Meno that even professional teachers and good men themselves disagree about whether virtue can be taught. Socrates suggests that perhaps it could be correct belief instead. Correct belief can direct our behavior well, too, though not nearly as reliably as knowledge. As Socrates says to Anytus:. And what about Socrates: does he teach virtue in the Meno? But what about his practice? And Socrates finishes by emphasizing that real knowledge of the answer requires working out the explanation for oneself.

The understanding requires active inquiry and discovery for oneself, based on innate mental resources and a genuine desire to learn. Whatever else might prove true or false about the notion that learning is a kind of recollection, these practical implications are what Socrates insists upon. Active Socratic inquiry requires humble hard work on the part of all learners: practice in the sense of the personal effort and training that properly develops natural ability.

Or is it not taught, but trained? Or is it neither trained nor learned, but people get it by nature, or in some other way? Some have argued that Plato mentions training in the opening lines only because it was one of the traditional options debated in his day. It seems to be tacitly dropped from the rest of the dialogue, and when Meno later revisits his opening challenge, he omits the option about training 86c-d. But if Meno forgets or deliberately avoids it, Socrates does not. When Meno starts to recognize his difficulties, Socrates encourages him to practice with definitions about shape 75a and gives him a series of paradigms or examples to practice with 73ea ; later, he criticizes Meno for refusing to do so 79a.

At a number of points, Socrates draws attention to the kind of training and habits Meno has already received 70b, 76d, 82a. While the theory that learning is recollection suggests that an essential basis for wisdom and virtue is innate, Socrates also reminds Meno that any such basis in nature would still require development through experience 89b. And the combination of quotations from Theognis near the end of the dialogue suggest that virtue is learned not through verbal teaching alone, but through some kind of character-apprenticeship under the guidance of others who are already accomplished in virtue 95d ff.

And it would not be a theoretical understanding divorced from the practice of virtue. In fact, our dialogue as a whole shows that Meno will not acquire the wisdom that is virtue until after he already practices some measure of virtue: at least the kind of humility, courage, and industriousness that are necessary for genuine learning. The Meno seems to be philosophically transitional between rough groupings of dialogues that are often associated in allegedly chronological terms, though these groupings have been qualified and questioned in various ways. All of that resembles what we see in early dialogues like the Euthyphro , Laches , Charmides , and Lysis. This cluster of Platonic concerns is variously developed in the Phaedo , Symposium , Republic , and Phaedrus , but in those dialogues, these concerns are combined with arguments concerning imperceptible, immaterial Forms, which are never mentioned in the Meno.

Accordingly, many scholars believe that the Meno was written between those groups of dialogues, and probably about B. That would be about seventeen years after the dramatic date of the dialogue, about fourteen years after the trial and execution of Socrates, and about the time that Plato founded his own school at the gymnasium called the Academy. More specifically, significant relations of the Meno to other Platonic dialogues include the following.

The Meno is related by its dramatic setting to the famous series of dialogues that center on the historical indictment, trial, imprisonment, and death of Socrates Euthyphro , Apology , Crito , and Phaedo. Anytus in the Meno will be one of the three men who prosecute Socrates, which is specifically foreshadowed in the Meno at 94e. The failed attempt to define virtue as a whole in the Meno is much like the failed attempts in other dialogues to define particular virtues: piety in the Euthyphro , courage in the Laches , moderation in the Charmides , and justice in the first book of the Republic.

Those dialogues emphasize some of the same criteria for successful definitions as the Meno , including that it must apply to all and only relevant cases, and that it must identify the nature or essence of what is being defined. The Meno adds another criterion: that something may not be defined in terms of itself, or in related terms that are still subject to dispute.

But there it is countered by a long explanation from the sophist Protagoras of how virtue is in fact taught to everyone by everyone, not with definitions or by mere verbal instruction, but in a life-long training of human nature through imitation, storytelling, and rewards and punishments of many kinds. Book VII of the Republic describes a system of higher education designed for ideal rulers, which uses a graduated series of mathematical studies to prepare such rulers for philosophical dialectic and for eventually understanding the Form of Goodness itself. The passage about recollection in the Phaedo even begins by alluding to the one in the Meno , but then it discusses recollection not of specific beliefs or propositions like the theorem about doubling the square in the Meno , but of basic general concepts like Equality and Beauty, which Socrates argues cannot be learned from our experiences in this life.

Plato also explores other models of innate knowledge elsewhere, such as an innate mental pregnancy in the Symposium cb; compare Phaedrus a ff. Glenn Rawson Email: grawson ric. Overview of the Dialogue a. Dramatic Setting The Meno is a philosophical fiction, based on real people who took part in important historical events.

Dermot Post Author September 2, Mean Girls Fallacies In Advertising. Goodenough Thomas Kailath. But there was a change in Gatsby that was simply confounding. It was Not So Hard To Find Foreshadowing Analysis terrible political regime.

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