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Bir Ankara Hikayesi : Gölge Romanımız bir başkahramanın biyografik hikayesini anlatırken diğer karakterlerin de geçmiş yaşamlarının ilginç hikayelerini anlatmaktadır. İçerisinde dram, macea, polisiye, aşk ve entrikanın bulunduğu eserimizde; bir olayı farklı karakterlerin, farklı bakış açılarından yorumlamasıyla sıra doışı bir anlatım tarzı sergilenmiştir. "Belgin Hanım, fotoğrafı gördüğü anda şaşkınlıktan gözleri yuasından fırlayacakmış gibi açılmıştı. Ne diyeceğini bilmeyen Belgin Hanım, elini ağzına götürüp uzun uzun fotoğrafa baktı. Daha sonra ane kız sesizce göz göze geldiler. İkisinin de aklında bunun nasıl bir kade olduğu vardı. Belgin Hanım`ı girdiği şoktan içeriden gelen Vahi Bey`in sesi çıkartı. Belgin Hanım, ağır ağır masaya doğru ilerlerken Pekcan`la bakışmaları herkesin dikatini çekmişti. Bu adeta uzun zamandır birbirini görmeyen iki insanın karşılaşması gibiydi. Aslında bu, on iki yılık "Bir Ankara Hikayesi`nin ikinci perdesiydi."

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Bir Ankara Hikayesi : Gölge

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I like all her advice except when she says not to read any (similar) books while trying to write one yourself.

2023-01-10 13:22

rafaelrenzonpayumo

Momidi, Andhra Pradesh, India

Walton 1 Kristen Walton English 2600 Close Reading Paper One 23 October 2015 Characterization by an Unreliable Narrator: The Cask of Amontillado In Edgar Allan Poe’s “The Cask of Amontillado”, readers encounter the vilest of villains: one Montresor, a rich and renowned aristocrat. He is irreconcilably upset with the supposedly injurious Fortunado. The story never provides a register of the perceived insults or offenses, but Montresor, who narrates the story, is convinced that his perspective is sufficient to rationalize murder. He employs a continuous litany of flattery, irony, and exaggeration. Furthermore, he leaves out key details of the story such as why he is so upset with Fortunado, and why he must exact revenge, leaving the reader to simply trust Montresor’s version of the tale. He also uses crafty, manipulative phrasing when telling his side of the story, choosing words that portray him as a victim, a hero, and a benefactor. Also of note, is the fact that his version is being told years later, undoubtedly affecting the integrity of the account. Having an unreliable narrator provides the reader with a highly biased and tainted portrait of Montresor’s true character. The account is full of characterization on Montresor’s terms, and he attempts to portray his victim as a weak, obnoxious simpleton and weasel. The reader, suspecting that Montresor is an unreliable narrator, must sort through his purported characterization to uncover the true traits of both characters. This essay will examine the text’s inconsistencies about true character by sifting through instances of Montresor’s deceitful narrative. Once the reader suspects the unreliable narrator, he or she will question every word, leading to the assumption that he truly is a despicable murderer. Walton 2 Montresor’s narrative begins in medias res, without any details regarding the man’s past with Fortunado. Within the first sentence, he vehemently exposes his need and desire for revenge. From the beginning of the tale, he informs the reader of the most important fact: that he had been insulted countless times by this man. Sardonically, he tells of his prior patience and his willingness to wait for “just the right moment.” He quickly asserts his position as the victim with phrases indicating his good will--speaking of his smile and by referring to Fortunado as his friend--while also using the incongruous term “quack” in nearly the same breath. He speaks of the need for punishment and justice and implores the auditor to bask in the inequity of his plight. Meanwhile, he commences the work of characterizing this “friend” as weak and simple-minded, though he also concedes--with questionable sincerity—that Fortunado is a brilliant wine connoisseur. To engage Fortunado, he uses flattery, and to ensure his own enjoyment, he employs acerbic irony. When inviting his prey to the vaults, he pays tribute to his expertise in wines, then insults a mutual acquaintance, Luchresi, placing Fortunado’s taste on a pedestal. Fortunado takes the bait and blindly accepts the arm of Montresor. The diabolical friend leads his prey to the estate, and using flattery and courtesy every step of the way, guides him carefully down to the catacombs under his stately home. This metaphorical journey brings to mind the devil himself, carefully leading an unsuspecting charge down to an infernal demise; this descent is an unmistakable foreshadow of Fortunado’s impending doom. Manipulation is Montresor’s weapon as he toys with Fortunado, conjuring a psychosomatic cough. The cacophony of flattery continues: “You are rich, respected, admired, beloved; you are happy … a man to be missed.” (Viewing this utterance as a heartfelt compliment, Fortunado misses the biting sarcasm in this phrase: Fortunado must be, and will be Walton 3 missed by Montresor—by way of extinction). He narrates to the sympathy of his auditors, pointing out in this exchange that he himself was once happy. Irony, both amusing and revolting, also plays a great role as he toasts Fortunado’s long life and agrees that the man will not die of a cough (clearly another foreshadow). Fortunado insults Montresor once again by not remembering his arms. Montresor explains that his family’s arms consist of: “a huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.” The motto is: “Nemo me impune: which, being interpreted, means ‘No one provokes me with impunity.’” It is clear that Montresor is casting himself as the human foot of gold, and Fortunado as the vicious serpent. This may not ring true to the reader, however, as they begin to sense that the count is hardly the victim. Fortunado, who has missed countless jabs and instances of irony, now also misses the most transparent in a trail of clues and responds naively with: “Good!” Montresor is more sure than ever that this man is nothing but an idiot; as such, he rationalizes that he is doing the right thing in leading the fool on into the nitrous vault (Stepp). The demonic Montresor then jokes about the trowel as the pair share an exchange about masonry and brotherhood. Again, Fortunado is clueless to the irony. When Luchresi is tauntingly mentioned again, the sobering Fortunado rudely retorts: “He is an ignoramous!” (This exclamation is perhaps a glimpse into his true personality). Montresor follows him deeper into the crypt, “…at his heels”, a phrase that brings to memory the aforementioned coat of arms, this time with Fortunado in the coveted position. The reader is stunned to realize here that Montresor is indeed the serpent, a recognition that nullifies any remaining credibility. Then doom sets in as the bumbling, intoxicated, and unsuspecting Fortunado mindlessly marches forth, with his unrealized golden feet. Walton 4 At the end of the journey, Montresor offers Fortunado one more chance to head back to the estate as he “implores” and offers his “attention” while binding the man in chains. Once he uncovers the brick and mortar, Fortunado’s naiveté and the drink wear off in tandem. The man moans sadly, then screams shrilly, and poor Montresor trembles as he is “thrust violently back” by the victim. Montresor uses the kindly word “aided” as he joins in unison with the screaming of his captor. (The words “implores”, “attention”, and “aided”, serve to portray Montresor as a benefactor only trying to assist his friend. To soothe the dubious auditor, Montresor reasserts his role as the victim, recounting how he trembled and was thrust violently back by the cries of Fortunado). The ever-symbolic midnight arrives, and Montresor places the eleventh hour brick in its destined position; the idea of destiny is key to the defense. The doomed Fortunado succumbs to the insanity of it all: he cries, then laughs, then jokes, then pleads. Then he grows silent, and Montresor, with righteous indignation, grows impatient (though in the beginning of the tale, he assured the auditor that he was a patient man). He realizes that Fortunado is gone. He dutifully lets the reader know of his heartsickness, then fifty years later, utters the closing words: “In pace requiescat!” By now, the auditor is convinced that Montresor is corrupt, and words like “heartsickness” mean little in justifying or explaining Fortunado’s veritable murder. In conclusion, Montresor’s’s use of flattery, irony, exaggeration, artful phrasing, and manipulation, trigger his auditors’ awareness: Montresor is an unreliable narrator. Furthermore, Montresor’s withholding of essential information and his reluctance to tell the story for fifty years, obliterate the credence and integrity of his account. The significance of these clues in the text assists in a more unbiased and informed position as the reader comes to his or her own conclusions about Montresor’s character and reliability. Walton 5 Works Cited Poe, Edgar Allan. “The Cask of Amontillado.” The Norton Introduction to Literature. Ed. Kelly J. Mays. New York: Norton, 2014. 108-13. Print. Stepp, Walter. “The Ironic Double in Poe’s ‘The Cask of Amontillado.’” Studies in Short Fiction. EBSCO, 1976. 1-9. Web. 16 Oct 2015. The author argues that each character in Poe’s “The Cask of Amontillado” has interest in the meaning of Montresor’s coat of arms, but that Montresor identifies himself as the strong one. The author, however, argues that Montresor is the serpent. Other main points of the article include how both men are more complexly characterized than the reader may realize, and that Montresor doubles with a character, William Wilson, from another of Poe’s short stories. Stepp refers to Montresor as a “diabolical rationalist”. He also points out that Montresor seems to be addressing his auditors as a last attempt to relieve his guilt (in a sort of confession) as he, himself approaches death. This assumption adds depth to my argument. The author’s theory about the coat of arms and its symbolism in regard to the characters, make this a good source for my paper.

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Bir Ankara Hikayesi : Gölge PDF'de kitap

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