English Extension Response 2 PDF

Preview

Summary

Practise response to unseen comprehension as well...

Description

Q: To what extent do both extracts resonate with your understanding of why we compose literary worlds? Both extracts effectively resonate with my reasoning for why literary worlds are composed. Text one is a nonfiction extract describing the literary world of authors, the metaphysical mask that gives authors the freedom to express themselves and effectively illustrate their intended creative worlds. Text 2 is a prose fiction extract expressing the literary mindscape of Tartt’s fatal flaw, she longs for the picturesque childhood memories. Both texts explore the similar notion of the reason for the creation of texts and literary worlds. Text one emphasises the reasoning for why we compose literary worlds, through the representation of the literary world of authors given a metaphysical mask, that gives freedom to voice different opinions. Griffiths portrays the literary role of authors through the alliteration, “we flirt, feign and play, and the story is the mask we wear,” suggesting the roles of authors in creating characters that portray a certain purpose, ultimately this is done through the masks provided when creating the literary worlds. Furthermore, the literary freedom is mirrored with the expert quote, “‘Man is least himself when he talks in his own person’ wrote Oscar Wilde. ‘Give him a mask and he will tell you the truth,” highlighting the renewed freedom arriving with the mask in permitting writers to write their universally believed truth. The purpose for imagining literary worlds is emphasised within the italics, “But crucially, the disguise discloses meaning: the mask unmasks deeper truths,” illuminating the deeper truths exposed by the creation of literary worlds by authors and the promotion of new concepts to the audience, continuing to reflect the deeper meaning of the role of authors. Another reason for the composition of texts is reflected in the biblical allusion, “To transform grief to transcendence, turning bitter water into wine,” mirroring the significant transformation resulting from the author's manipulation of art into something positive, displaying the role of authors in turning ‘water’ or words into ‘wine’ intriguing worlds to convey their purpose. Ultimately, the power of authors is represented with the matter of fact tone, “Anyone can, though writers make their spells literal,” accentuating the powers of writers who can physically make magic into reality through their use of language to achieve their purpose. Hence, Griffiths represents the literary world composed by authors to convey their purpose, turning language into magical stories. Likewise, text two reverberates with my reasoning for the composition of texts, replicating the literary mindscape of Tartt’s fatal flaw in depicting the fatal flaws of humanity. Tartt’s extract begins with a rhetorical question, “Does such a thing as ‘the fatal flaw’, that showy dark crack running down the middle of a life, exist outside literature?” questioning the existence of the fatal flaw of an individual, Tartt comes to the realisation of her fatal flaw through her contemplation with the first person tone, “Now I think it does. And I think that mine is this: a morbid longing for the picturesque at all cost… ,” suggesting Tartt is concerned with perfection, although it can’t be ever achieved, Tartt attempts to recreate perfection within her childhood memories. The effects of the composition of the perfect mindscape is portrayed through the cumulative listing, “full of striking, simplistic environmental influences; a colourful past, easily accessible to strangers,” portraying the change of memories influenced by her desire for perfection, hence, the mindscape of the fatal flaws of humanity that cause a manipulation of events. Additionally, the falsification of events is displayed with the caesura, “- full of swimming pools and orange groves

and dissolute, charming show-biz parents has all but eclipsed the drab original,” accentuating the false representation of truth caused by her desire for perfection, and therefore, the corrupted literary mindscape of fatal flaws in humanity. Finally, the perpetrator of her perfection and corrupted mindscape is demonstrated within the descriptive imagery recollection of her childhood, “but also to watch television, which I did plenty of, lying on the carpet of our empty living room in the long dull afternoons after school,” suggesting the influence came from her continued repeated watching of television, that presented the false perfection and caused the fatal flaw within Tartt. Tartt examines the fatal flaws within humanity caused by an obsession with perfection to expose the corrupted literary mindscape. Both texts effectively engage with our understanding of why literary worlds are composed. Text one does it through the world of authors in transforming words into something magical like the literary worlds. Text two replicates the fatal flaws within the individual resulting from the obsession with idealism and the role in reporting the corrupted human mindscape....