Professional Documents
Culture Documents
Literature review includes systematic identification, location and assessment of any material
related to the research. The main objective of literature review is to find out the work that has
already been conducted with regard to the topic. As per the above defined role of the literature
review in the research , the works that are more closely related to the topic and tend to advance
our knowledge of the topic have been included. Attempt has been made on the part of the
research to include only that data pertaining to the research that clarifies our understanding of the
topic as well as enable us to explore the gapes that exist in current scholarship with regard to the
topic
The Book Thiefby Markus Zusak explores themes such as life and death, human family,
festival, literacy, power of words, duality of Nazis, love, war, identity, human sufferings and
courage. Zusak presents the story of World War 2 taking death as the narrator of the events
during the Nazi-era.Just like any other work of fiction, The Book Thief is in essence a novel for
youngsters which adults may enjoy as well. As knowingly ambitious and post-modern- the novel
contains many typographical symbols, handwritten passages and illustrations. Along with these
patterns, the book also accounts for innocent sensibility carrying no hidden depths that makes
The Book Thief completely appropriate as a novel about a nine years old child. The existing
literature gives an overview of how other authors have discussed these themes in their works,
although theme of death has been quite abundant in the works of fiction.
According to Phillippy almost in all the genres of literature including prose, poetry,
drama and novel etc works of huge worth have been produced emphasizing the theme of death.
For instance, in the black comedy, the proponents of theatre of absurd and the modern
tragicomedy writers such as Eugene Ionesco, Samuel Beckett, and Harold Pinter emphasized the
humorous side of death in their works (Phillippy, 2002). The works of these dramatists deal with
the theme of death in multiple ways . For instance, Becketts Waiting for Godot presents
laughter as the only appropriate response to hopelessly absurd and violent life. On the other
hand, affirming life is the characteristic mark of plays of Ionesco, which are tragicomic in nature.
similarly, Eugene O'Neill and Tennessee Williams portray death as an evitable feature of the
(1931)conceive death as an escape from the miseries and torments of this unjust and cruel world
. WilliiamThe Night of the Iguana (1961),a play by William deals with the life of a poet who is
troubled by the inevitability of death and his search for finding its solution." Uroff (1977) claims
that twentieth century confessional poets like, Sylvia Plath, Anne Sexton, Robert Lowell and
John Berryman also present best example of such tragic response to death in their musings as
discussed above. The serious mood and feelings about death, trauma and depression that prevail
in the poetry of these poets present the treatment of the subject in modern poetry. Among these
writers, especially Plath and Sexton accord death a peculiar importance ,for it proves the
deceptive nature of life, something that transforms us from unreal to a real life. The poetry of
Like drama and poetry, novel also affirms the predominant presence of theme of death in
modern literature. According to literary critics, morality predominates the works of Franz Kafka
and D.H. Lawrence which results in anxiety, alienation and potential retreat to the self as an
escape from death. The intense study of death gives an opportunity to understand life and living
fully. Moreover, an understanding of ones identity can be achieved when one seriously ponder
over morality which results in understanding the true meaning of human existence. The
contemporary writers have also used the concept of death in black comedy. According to Uroff,
1977), the portrayal of death as an inevitability in the humans life .Death has been used as an
ironic metaphor for life by the contemporary writers ,such as J. P. Donleavy in The Ginger Man
(1955), Vladimir Nabokov in Pale Fire (1962) Kurt Vonnegut, Jr. in Slaughter-house Five,
(1969) and Thomas Pynchon in Gravity's Rainbow (1973).death is treated as an evidence which
tends to prove the impermanence, absurdity and futility of life while simultaneously reinforcing
death to be finality of life. From the above discussion on works of literature based on theme of
death, it is deduced that death serves as a trauma and a relief as well depending on the
The Books Thief entails multiple themes such as power of words, identity, suffering,
courage, war, mortality and so on. the Few studies which have been done on this novel cover
only two aspects of it. The first study done on the novel is titled as Beyond The Basics With
Bakhtin: A Dialogical Look At Markus Zusaks The Book Thief(Brady, 2013). The researcher
deals with the idea, informed by Bakhtins Dialogic Pedagogy of close reading and mentor text
with a focus on grammar rhetoric and language through a close reading of The Book Thief. The
second study focuses on the theme of literacy and the role of books in Liesels life is entitled as
Literacy in The Book Thief: Complicated Matters of People, Witnessing, Death (Lee, 2015). Both
the studies cover the two important aspects of the novel, but no commendable research has ever
been done on the novel considering its uniqueness having Death as narrator. The novel sheds
light on an important period of European history in a unique way by narrating the events in
Deaths voice. Thus, it is necessary and interesting to explore the novel with the New historicist
perspective to help the readers get hold of this unique work of fiction with reference to its
context.
Theme of Death& Love
Literature provides us several ways of imagining death and approaching it from a variety
of perspectives. There are a few literary genres like lamentations and elegies that are
purposefully transcribed in response to the death or loss of a loved person or object. Literature, in
its essence, acts as a consolation for those suffering from the brutality of death. Traditional
consolations, for instance, offered comfort notwithstanding exile or death, while in the first book
of his consolatory Tusculan Cicero noticed that the death has even been commended and invited
as it frees us from the universe of misery and from the various indecencies of mankind. Some of
the deaths in literature are more puzzling and less effectively closed than the others, and some
tragic heroes have left the life more horrendously and significantly than others. Violence might
hurt in comedy however the victim dependably survives from death, while tragedy commonly
speaks to an important and sensational grand scale death that drags out the scene of biting the
Several literary works provide us different perspectives to look at death, ranging from
mortality and dying in numerous ways. One can contend that death is extremely valuable to the
works of literature. While furnishing anecdotal experiences with death to its audience, the stories
additionally utilize death in their portrayals to make passionate impacts, plot turns, anticipation
and secrets. In any case, significantly more vitally, death as a narrator appears to have a key and
existential association. Death and life offer us the chance to recount stories, which, be that as it
may, regularly contain a component of hallucination unequivocally inferable from their narrative
character, which maybe now and again bodes well than the platitude of life and its completion
does. Kermode (2000) considers narrating an existential demonstration significantly vital to our
lives; narrating helps us to keep up a (beguiling) feeling of request in our lives and immediately
Works of literature have also discussed death through characterizations and metaphors.
For instance, Karl S. Guthke contends that in spite of various choices, Western folklore and art
have given a human shape to the theoretical idea of death by personifying it. Guthke likewise
guarantees that through the representation of death (and its casualties), death essentially gets to
be gendered as a social item. What's more, since death as a partner is a typical, even a
widespread subject, it fundamentally gets to be eroticized in these items. Guthke keeps up that in
Western societies, both sexual orientations have been accessible, even though male figures used
to be more regular, amid the twentieth century specifically female demise figures have turned out
In case of death as a metaphor, death might be used to stamp issues that should be
separated. Misery is Julia Kristeva's idea and alludes to something that has been a piece of an
individual, yet after detachment from the subject it makes a danger to personality and should be
cut free. The experience of misery is likewise connected to dead bodies and to death itself
(Kristeva 1982, 112). The very association with death can stamp social issues as minimized or
imperceptible. A few vampire stories, for instance, utilize the personal and sexual association
with death to check dynamic (female) sexuality as shocking. In Bram Stoker's novel
Dracula(1897), the vampire lures Lucy and Mina. The men in the story need to chase down both
the Count and his changed casualties and murder them keeping in mind the end goal to tame any
types of sexuality that debilitate the acknowledged social standards. By rebuffing female
sexuality by death, the novel additionally underestimates different sorts of sexuality than
monogamous connections.
In the works of fiction, death is frequently perceived as having the power to narrate.
Narratological hypotheses develop occasions as building squares of the plot, defined as changes
of state, or moves starting with one state then onto the next (for instance, Bal 1999). Death, as
well, is a veritable change in express, a change starting with one sort of being then onto the next
sort of (non)being, and as with any account component, death happens in a specific place and at
a certain time. Thus, as a narrative, death both influences characters and drives the story in some
heading. In film studies, Catharine Russell (1995, 24) perceives the longing in Western fiction
for significant death. Death can propel the plot, yet more regularly it is used as conclusion to
stress its significance. For instance, in investigator and wrongdoing books, passing for the most
part opens the story and the story rotates around finding the killer. Conceivable further deaths
can be utilized to make new plot contorts and increment the enthusiastic nervousness of the story.
In any case, in these stories, the demise is still principally identified with the completion, the
demise of the killer that settles nerves and returns society to its standard harmony. Russell
contends that fancy for death as a formalized consummation emerges from the Bildungsroman
custom, where demise conveys a consummation of various implications and conceivable story
lines. These conventions have made fictional death expected and trusted for on the grounds that
In any case, utilizing death as a narrator to give a story conclusion or even purge clarifies
how negative occasions and feelings can be utilized to serve "moral" purposes by helping the
audience to process negative issues and discharge enthusiastic pressure with a positive
arrangementis just a single of the choices accessible to writing. Passing is regularly identified
with knowing in fiction from life-changing antiquated tragedies to cutting edge analyst stories,
where the audience adapts increasingly as the plot creates and uncovers the wrongdoing. Be that
as it may, in numerous contemporary writings conclusion does not bring any sort of disclosure or
revelation. Numerous late books have been composed keeping in mind the end goal to underline
the uncomfortable certainty that individual deaths, or for instance the repulsive occasions of the
Second World War, may not give significance on presence or bode well by any stretch of the
imagination. Despite the fact that passing offers an event for retrospection which can offer
significance to the lived past, as Brooks (1992) has contended, such a sentiment seriousness is
not generally accomplished. In like manner, if prior in narratology researchers typically shared
the view that the completion gives a sense to the start and the center (Brooks 1992, 22), this is no
more drawn out to be the main alternative. Contemporary forms of death have favored storylines,
in which either the importance of life is not uncovered at the purpose of the death, and
conclusion may not be identified with each other by any means, or passing can really function as
a start or opening of another story. Here and there death just demonstrates to us how things end,
Paradise Lost by John Milton is another substantial work of literature that discusses the
very theme of death in a profound way. The main theme of this epic poem by Milton is no doubt
the defiance of man which brings death in the world. However, death as a consequence of sin
becomes the central theme of the Paradise Lost. The voice of God pronounces with extreme
taste the forbidden fruit. Satan also claims to have endowed death to human beings. However in
the lost two books Milton negates that the death come into existence due to the temptations of
Satan. He considers death to be conferred by God on the humans which relieved Adam and Eve
from the eternal condemnation and after death would be restored to their former place in the
paradise .
Milton, then, treats Adam and Eve before the fall as epic characters, who speak to the
race in an incredible emergency; yet after the fall he regards them as performers in a show, who
procure the aftereffects of their past choices. In the early drafts of his epic, he arranged a show
with epic components; the epic which he at long last composed, be that as it may, turned out to
be a dramatization. What he says of death in the epic part of the story accompanies respectability
from God, whose will, in the start of the lyric, is delineated on earth; yet what he says of death
after the fall may better have been placed, not in the discourse of God nor of Michael, yet in the
expressions of Adam and Eve, since it is the impression of their sensational experience. It is
common for Adam, aware of the loss of satisfaction, to look on death as a discharge, however we
are stunned when the conclusion continues as an epic articulation from the divinity.
Furthermore, poetry also explore the theme of death as both of them committed suicide
their poetry reflects the theme of death as well. As individuals, we are unusual in our familiarity
with death. "We realize that we will bite the dust, and that learning attacks our awareness it won't
give us a chance to rest until we have discovered courses, through ceremonies and stories,
religious philosophies and methods of insight, either to understand demise, or, falling flat that, to
comprehend ourselves even with death"(Carel 12). Dreading our definitive obliteration, we
customs on occasion of death and confidence helps devotees at those vital minutes. Regardless of
how helpful this is, demise remains a dreadful, startling event, and the dread of death is a well-
known fact. In light of these thoughts, Sextons and Plaths verse and lives appear to be one of a
kind, since them two in their verse, symbolism in verse and genuine lives had been looking to
The power behind Anne Sexton's and Sylvia Plath's poetry is found in their capacity to
remain actively and perpetually open to life, even despite death. Both artists managed demise as
a subject or theme inside their verse to better comprehend their reality, and their relationship to
it. To take advantage of the very force of death is to serves move the achievement of their
pictures. This proposal is an endeavor to comprehend Plath's and Sexton's interest with death, in
a culture that devotes itself to "holiness of life" (George 124). The proposition proposes two
theories about those artists' enthusiasm for death as topic in their verse. To start with, the
association of the desire to die to female's yearning for power and control, and second, utilizing
passing as a device to challenge human mortality. The closeness to death permits both writers to
accomplish unparalleled power in their sonnets. This idle power is continually anticipating the
audience to involvement and inhale new life into their words instead of being kept down by
death.
Eugene O'Neill's Mourning Becomes Electra is another famous work of literature that
is based on the theme of love and death. The house of Mannon was based upon outranged
puritanism and pride, which inevitably lead the Mannon line to death. For them pride brings
death, and love brings life. Presence for the Mannons is life-in-death from which love, spoke to
by Marie Brantome, and has been closed out. In their aching to get away from the monstrous
reality of their genuine lives the Mannons long for discharge in affection untainted by pride and
sin, and in death itself. Christine's acknowledgment of sexuality, has been disenthralled by Ezra's
Christine falls in love with Adam, Marie Brantome's son. At the point when Ezra gets a
heart attack, Christine purposely withholds his solution. To the outside world, Ezra seems to have
died from common causes; Lavinia in any case, finds her mom's blame. She arranges her
vengeancedriven, not just by the Mannon feeling of equity and her affection for her dad, yet
by her baffled love for Adam and disdain and desire of her mom. Since Christine has "stolen" the
adoration for both men from Lavinia, the fitting connection for Lavinia is not to take her mom's
life, but rather to take from her the affection which is her life. At Lavinia's impelling, Orin
murders Adam Brant. Christine takes her own life, and after Christine's suicide the soul of malice
and demise in the Mannons is by all accounts incidentally fulfilled, and Lavinia can wake up.
In William Shakespeare's play "Hamlet", death and mortality are the topics that
Shakespeare investigates top to bottom, all through the play. Shakespeare excites the enthusiasm
of the audience with regard to death in the opening scene catches, when the phantom of Hamlets
father is sighted. The whole play tone is set by the opening scene characterized by murder,
suicides and contemplations of reprisals.. Not only concerned with how to vindicated his father
death, Hamlet is also engaged in controlling his own fear of death. We come across the first
death in the play when the apparition of Hamlets father discloses to Hamlet that it was his uncle,
Claudius, who murdered him to materialize his objective of wedding the queen, Gertrude. Who
will subsequently ensure his accession as a king. Hamlet pledges to retaliate for his dad's murder
and gets under way a plot to execute Claudius, which in turn results in the deaths of almost sll
the important characters, namely his future father-in-law Polonius, his mother Gertrude, his lady
to be Ophelia, Rosencrantz, Claudius, Laertes, Guilden stern, and of course Hamlet too. Hamlet
ponders what death must resemble to, however he fears the obscurity of death and his
contemplations and preoccupation with death also enthralls the reader and take them along with
The encounter of Hamlet with his fathers apparition gives the audience an idea that the
particular scene will have immense impact on the play and will determine for the most part the
progress and the outcome of the play. Right off the bat Hamlet addresses his mortality in Act I sc.
2, when he says, "O, this too sullied substance would liquefy, Thaw, and resolve itself to
dew"(Shakespeare 1.2.133-134). Here, Hamlet first talks about his desire to bite the dust,
alluding to the snappy marriage of his mother to Claudius promptly when his father has deceased
just a few days back. Later in Act I, sc. 5, Marcellus says to Hamlet and Horatio " the affairs of
Denmark are not running smooth and there is an impending danger (Shakespeare 1.5.100). This
peculiar scholarly being, who is the receiver of the profound regard of Hamlet, is however
the memorial park scene the preoccupation of Hamlet with the carcasses.. Hamlet questions any
relationship between the dead body and the former being . he seems to be obsessed with death
which in turns prompts his enquiry into the relationship between the a person body when alive
and after death . His horror is obvious after the realization that death is an end of everything that
insciveness .Mortality dominates the play resulting in adding obscurity to every scene of the
play. The play does nt settle anything in particular, or answer the age old questions related to life
and death . however it enable us to think about death in a more empowering manner by its
Death characterizes human lives on the premise that men are pretty much aware of their
mortality. Some could contend that death denies life of importance as everything arrives at an
end in any case. Others would guarantee that death offers intending to life since it compels us to
follow up on things now, not to sit tight for endlessness. Among significant Western writers
James Joyce communicated a positive state of mind to death in Ulysses, in which death has an
as an indispensable unavoidable truth and contends that it is the complementarity of death to life
Griselda Pollock's article on Anne Frank: The Diary of a Young Girl has moved toward a
similar question of the meaning(less) of death from a marginally alternate point of view. She
contends that despite the fact that Anne does not bite the dust amid the journal, the story is
loaded with a feeling of mortality because of her known passing at Belsen. In her journal, she is
youthful and alive, perpetually solidified to a specific minute. Her appearing everlasting status at
the story level just demonstrates the delicacy of human life and makes her story a consistent
wellspring of grieving and memorialization (Pollock 2007, 125128, 135140). At the more
broad level, Pollock's contentions present various intriguing thoughts. As a matter of first
importance, the unimportant cognizance of mortality can give any novel a feeling of
determinism. Also, writing has the energy to stop life to a specific minute, and this stillness can
turn into a wellspring of memorialization and through steady recollecting composing can give
War &Violence
The Book Thief is set during the era of World War 2 depicting the brutality and cruelty of
the Nazis, which has been the central theme of many other literary works as well. There is an
extensive body of literature written by the Holocaust survivors, which deals with the clamaties
and terror these people, underwent. The writings of these people are commonly termed as
Holocaust literature ,however the definition of the term has expended immensely. As David
Roskies and Naomi Diamant in their book, Holocaust Literature: A History and Guide, have
defined the literature of Holocaust as following , the literature of Holocaust includes every form
of literature for example , documentaries ,writings and discursive which is informed and informs
of the above definition of Roskies and Diamant which states that every work that documents the
miseries of Holocaust even if the writer has not experienced it himself ,almost every second
person in the current world must have read ,heard ,or watched something regarding Holocaust.
The horrors of Holocaust are not just known to adults , but it has been made part of
middle and high school curriculum in most of the countries across the globe.Holocaust form an
integral part of the worlds history. Due to the fact that many of the Holocaust texts are too
graphic for the children to read , attempts have been made to produce a version of Holocaust for
children to make sure that they may know the horror to Holocuast and the destruction caused by
fascist narratives. One such work particularly designed for children is Anne Franks Diary of a
Young Girl. David Russell in his essay Reading the Shards and Fragments: Holocaust
Literature for Young Readers dwells on as to how the horror of Holocaust have been conveyed
to the young adult readers through such readings. (Russell 1995). Russell terms Lowrys novel as
a Resistance novel which is focused on the depiction of those underground movements leads by
Jews to counter their foes. the Jews who lead the movements are presented in a favorable light
aided by the righteous Gentiles (Russell).Count the Stars ,another novel deals with the life of a
ten year-old Danish girl, Annemarie, the heroic resistance of Denmark against the Nazi Germany
and the safe evacuation of Jews from Denmark to Sweden (Cartland, 2013).
Richters text, Friedrich, deals with a different aspect of Holocaust. Richter narrative
accuses the common Germans of accomplice with the Nazis in tormenting the jews ,as they just
stood by and did nt come forwards to rescue them from the atrocities committed against them .
Friedrich deals with friendship between a Jew and a German, and it progress through during
different phases ,namely in the pre and post Nazi Germany. The anonymous narrator of grows up
with his friend, who happens to be a jew ,as their lives moves forward, their lives deteriorate
progressively. The narrator remains a silent spectator of the atrocities of the Germans against the
Jews, as he lacks the moral compass to guide him to in the crisis that surrounds him/
Russell 3). Towards the end of the novel ,Friedrich dies a helpless death in an air riadf because
his landlord did not allow him to the safety of the shelter .the reader is disgusted by the attitude
of his best friend who remains a silent spectator and does not move forward to help his friend .
the literature of Holocaust deals with an assorted themes, all of which are intended to analyse the
attitude of different communities towards the oppression of Jews . the theme such as becoming
adolescent Germany either as a Jew or as a Gentile helping Jews during the time when Nazis
were ruling has also been extensively discussed. It is a fact that many jews had ties with
Germans, namely friendship, but those friends didnt come forward to rescue them when they
were treated barbarously by the Nazis. however , the theme that how literacy affects the lives of
jews and Germans and their mutual relationship is largely left out by most the writers dealing
with the Germany under Nazis . Among the few novels ,the book thief is a novel which focuses
on this aspect ,namely the theme of literacy and the power it exerts on the people in Nazi
Germany.
The devastating Psychological effects and aftermaths of the World War 2 have reflected
in the major works of literature as described by Robert Jay Lifton in his article Psychological
Effects of the Atomic Bomb in Hiroshima: The Theme of Death. He discusses the effects of
deadly war survivors, and how they suffered even after the war had ended. According to Lifton
(1963), the survivors of war were affected not only by the fact that so many people died around
them but also by the way they died. In addition, Hiroshima survivors know about the general
concern and discussion about hereditary impacts of the nuclear bomb, and most express dread
about conceivable hurtful impacts upon consequent generations intense passionate concern
anyplace, however especially so in an East Asian culture which stresses family heredity
furthermore, the congruity of eras as man's focal reason in life furthermore, (in any event
norm (as has been broadly shown in research facility animals); and anomalies have as often as
possible been accounted for among the posterity of survivors sometimes in exceptionally
shocking journalistic terms, some of the time in more limited therapeutic reports. Really, orderly
survivors' posterity than in those of control populaces, so that logical discoveries in regards to
A Farewell to Arms by Earnest Hemmingway is probably the most renowned work of art
carrying the themes of war and violence. As suggested by the name of this novel, A Farewell to
Arms deals essentially with war, specifically the procedure through which Frederic Henry gets
expelled and deserts it. The few characters in the novel who really bolster the exertionEttore
Moretti and Ginoseem to be a dull egotist and an innocent youth, individually. Most of the
characters remain frightful of the war due to the death and destructions it brings to human beings
,turning them into mere memories. The novel offers the depictions of the war's senseless violent
The shooting of the architect by Henry for refusing to free the auto from the mud literally
stuns the audience for two main reasons: firstly, the outrageous act is in stark contrast with
thehumble nature Henry secondly, the occurrence happens in a setting that denies it ethical
importthe complicity of Henry's fellow officers gives it legitimacy. The murder of the designer
seems to be inevitable on the grounds that it is an unavoidable consequences of the violence and
confusion that permeate the novel. However, the novel can't be said to denounce the war; A
Farewell to Arms is not really the work of a conservative. Rather, similarly as the guiltless
specialist's demise is a certainty of war, so is war the unavoidable result of a remorseless, silly
world. Hemingway recommends that war is simply the dull, deadly expansion of a world that
Violence is frequently and consistently depicted in the works of literature. War is among
the signs of aggregate brutality that were portrayed in early artistic works. According to
Shepherd (1903), Homer (eighth century BCE) composed a cycle of lyrics on the Trojan War, in
the Illiad and Odyssey. Incomprehensibly, this work was delivered amid the rule of the Han
Dynasty which was quiet. Essential religious messages in India, for example, the Ramayana and
the Mahabharata, portray wild fights inside the Kshatriya class (the class of the warriors). The
custom to delineate wars proceeded with scholarly works recounting the Crusades, while
Napoleon's intrusion of Russia was depicted in War and Peace (1869) by Leo Tolstoy (1828-
1910).
Finglass (2007) claimed that murder has been a consistent artistic subject. Oresteia and
Sophocles' Electra tell first of the murder of ruler Agamemnon by his unfaithful spouse
Clytemnestra and her significant other Aegisthus, then of Orestes' lethal reprisal. In Euripides'
Medea, the foremost character murders her kids since her better half has abandoned her. The
works of William Shakespeare additionally recount diverse stories of violence, with a murder at
the premise of works like Hamlet, Othello or King Lear (Bullough, 1973). Murder kept on being
Rodya Raskolnikov murders his covetous landowner, while the fundamental character in
Theodore Dreiser's An American Tragedy slaughters his better half. Both books manage the issue
wrongdoing thriller, in which writers, for example, Batliner, Steidl, Schuller, Seppi, Vogt,
Wagner,& Amir made lead characters who were criminologists who needed to tackle the secret
of a wrongdoing - more often than not a murder - and discover the offender, a book shape called
Berg, Pajer, & Sjors (2009), in Dante's Inferno, the delinquents encounter harshest disciplines,
with the desirous having their eyes sewn close. Another case is Prometheus Bound by Aeschylus,
Violence has even been depicted in children's stories. The main version of the stories of
Charles Perrault (1628-1703) included stories like Blue Beard, Sleeping Beauty and Little Red
Riding Hood focused at more develop perusing group of onlookers. The stories portrayed in
points of interest scenes of murders, and even human flesh consumption. The fables of Jacob and
Wilhelm Grimm were fundamentally people stories that were not so much fitting for kids. A few
scholars have attempted to clarify and legitimize violence, for example, Reflections on
acts, Hannah Arendt (1906 - 1975) composed On Violence (1970), in which she contended that
violence was prohibited. The main special case was to utilize it in resistance against clear and
Alan Sillitoe's The Loneliness of the Long Distance Runner (1959) is a story of a
devastated Nottingham young person who has few prospects in life also, appreciates couple of
interests past perpetrating insignificant violations. His home life is troubling. Gotten for looting a
pastry shop, Colin is limited to a borstal, or jail for reprobate youth. He looks for comfort in long
separation running, pulling in the consideration of the school's powers, be that as it may, amid a
vital cross country race which he is winning, he quits running barely shy of the complete line to
challenge his captors. Realist and "furious" books were in no way, shape or form the main ones
composed amid the '50s and '60s. Different writers were occupied with religious what's more,
otherworldly issues. The best illustration is William Golding, who made an ethical tale of the
human condition. In his most famous novel, Lord of the Flies (1954), he expresses the "end of
blamelessness", the dimness of man's heart, and precluded all trust from claiming positive
qualities existing even briefly among youngsters. Lord of the Flies is a metaphorical novel. It
talks about how culture made by man fizzles, utilizing for instance a gathering of British school-
young men stuck on a betrayed island, who tries to lead themselves with lamentable outcomes.
The book was composed amid the principal years of the Cold War and the nuclear age;
the occasions emerge with regards to an anonymous atomic war and depict the plunge of the
young men into viciousness. At a figurative level, the principle topic is the clashing driving
forces towards human advancement (live by standards, gently and in amicability), and towards
the will to control. The title is said to be a reference to the Hebrew name Beelzebub (Ba'al-zvuv,
"divine force of the fly", "host of the fly" or actually "Lord of Flies"), a name some of the time
Identity
stable across different situations. The components of identity are mainly Race, ethnicity, religion,
dialect and culture individuals exerting varying forces at individual at different times thus
enabling him to separate themselves from different gatherings and shape their comprehension
and pride in their identity. In any case, people may have more than one social identity as a
consequence of land and social versatility and their yearning for having a place with a specific
group.
Identity in writing may allude to the writer's appropriation of another culture and dialect
as a method for expression taking after a movement from his nation of source to another.
Therefore the class of "vagrant writing" has created which investigates the issues of movement,
communicate under male nom de plumes that their works can be distributed and similarly
acknowledged inside society. Obviously authors utilize nom de plumes to accomplish a more
noteworthy impact by creating more masterful nom de plumes, escape conceivable outcomes of
Literary criticism concerns itself less with the remaking of plot as with the investigation
of subjects, characters, and the utilization of strategies. From Greek writer Sophocles'
OedipusTryanos (Macintosh, 2009) to African American author Alice Walker's The Color Purple
(1982), the identity emergency has exhibited its energy as one of the fundamental topical worries
in writing. Catastrophe gets to be distinctly ineluctable when characters can't remove themselves
from the contention between their identity and their identity expected to be. On the other hand,
characters' awareness of their actual selves is basic to the possible accomplishment of self-
is oftentimes occasioned by struggle. Strife between a man or amass and someone else,
gathering, or common compel is the thing that drives one into change.
A Separate Peace by John Knowles is based largely on the theme of identity. The focal
relationship in the novel amongst Gene and Finny includes a puzzling attempt to looking forward
to build up, , identity however they are uncomfortable with it. The mutual bond which they both
wish to secure , seems to be an elusive dream, because the Gene's envy and hatred of his
companion's commanding soul works against the very spirit of friendship. While Finny enjoys
the display of his physical abilities,Gene is never tired to show off his scholastic abilities. The
fall of Finny from a tree leads to clear as the ill intentions of Gene and changes the very nature of
their relationship radically. The envy is now replaced now be codependency. The intimacy is
obvious after the fall from three when Gene puts on Finnys garments and imagines himself to be
looking exactly like Finny. Starting here on, he and Finny come to rely on upon each other for
mental support. As Finny cannot take participation in the competition , he prepares Gene for the
competition and to become the competitor he himself cannot be.. This preparation appears a road
for Finny essentially to live vicariously through Gene. In any case, Gene has deep respects for
Finny efforts and time which Finny is investing in him , similarly as Finny gets inward
satisfaction by seeing Gene securing all those things which he himself once wanted to achieve.
Thus this particular changes has positive results for both of them ,each of them seeing himself in
A Separate Peace , a novel set in wartime setting dwells on the theme of warbut what
amazes one is that not a single shot is fired throughout the whole narrative. The main emphasis
is laid on the inner conflict that every human beings has to fight eventually. The moral lesion
which one drevies from the novel is that each individual has to fight the inner war at some point
in time in life Rather,. For Knowles the world is a perilous place where individuals eventually
realizes that there in something out there in the world that needs to be demolished. The novel
verifiably partners this acknowledgment of the need of an individual war with adulthood and the
loss of youth purity. For a large portion of Gene's cohorts, World War II gives the impetus to this
misfortune, and each responds to it in his own specific mannerBrinker by supporting a
In addition to that, novels by Virginia Woolf also discuss the search for identity as a
major theme of her novels. The Second World War was an occasion, which effected the change
in the substance of writing until the end of time. An era of essayists got to be distinctly deadened
by the outrageous obliteration that war realized, demonstrating a face of human instinct that was
at no other time seen. Gertrude Stein got a kick out of the chance to allude to this era as the lost
era" on the grounds that interestingly the vision upon the world was completely smashed and
journalists couldn't discover whatever else to imagine however the foolishness of human fate in
the calamitous setting. The changing circumstances requested distinctive, new methods of
expression. Modern literary, writers made utilization of continuous flow systems to take shape
the inward monolog of characters. Be that as it may, these were not basic stylistic gadgets. Their
principle part was to pass on the anomalies of thought, yet they tended to underline the
scholars themselves looked to find another feeling of identity, as though the human soul had lost
its honesty and thrown away from the Garden of Eden. Among all the scholars, Virginia Woolf is
presumably the best in depicting this advanced inter belic inquiry of identity(Abel, 1989). "amid
the catastrophe events taking place of the European war," composed Woolf, " our emotions
our emotions to be broken up and identified each one separately before we could enable
ourselves to analyse them in poetry or prose .As a literary virtuoso, her identity emergency was
Mrs. Dalloway, distributed in 1925, is one of the best books to express the identity
disarray in post-war England. The novel is focused on the subjective encounters and
recollections of characters over a solitary day in postWorld War I London. It is partitioned into
parts, instead of sections to underline the fine string of interlaced musings. Woolf centers here
around ordinary undertakings, for example, shopping, setting up a gathering, and having supper,
her expectation being to demonstrate that no demonstration is too little to trigger sentiments and
recollections in the characters (and sometime later, in the peruser). The author underlines this
loss of feeling of identity even through the method of the novel. In spite of the fact that it has a
principle hero, Clarissa Dalloway, a few different characters and more than one hundred minor
ones seem to circle her and suppress her internal considerations with little respite for move.
Every one of their considerations turn out confusingly like bug catching networks, choking out
all feeling of presence with impressions that soak the psyche. It's practically as though the reader
is listening to a numerous voices, out of which he just figures out how to observe one at a given
time. What is most imperative is that occasionally the strings of thought cross and characters
prevail with regards to imparting. Be that as it may, all the more regularly, these strings don't
cross, allowing the heroes secluded and to sit unbothered in their scan for identity. Woolf herself
terms this vortex of considerations as the "cotton fleece" of life in her personal collection of
It is in this disarray of considerations and emotions that the courageous woman of the
novel, Clarissa Dalloway, battles to adjust her inward existence with the outer world. At the
surface, her reality is sparkling with fine design, gatherings, and high society, however as she
travels through that world she is in a ceaseless scan for more profound implications. There is a
steady pressure between the private world and general society one in Mrs. Dalloway. For
instance, Clarissa has a propensity toward reflection, which makes her dependably crave a quiet
space for her feeling. In the meantime however, she is constantly worried with appearances and
What's more, this is the way we get to the methods in which characters can escape from
their identity emergency and discover impermanent mending. In Virginia's fiction, characters
once in a while see life's example through a sudden stun, or what Woolf called a "snapshot of
being" a sentiment extraordinary delight regularly goes with epiphanies, which stipends
escalated learning about one's condition of being on the planet. All of a sudden, the individual
can recognize reality and his or her place in it, unmistakably. Virginia Woolf's "snapshots of
being" happen when one gets an enthusiastic blow like a physical "stun" that disturbs the
standard stream of discernment and oversees, as Wordsworth expressions it to "see into the life
of things": a minute in which we realize that we are. That is the reason her books endeavor to
reveal divided feelings, for example, franticness or adore, keeping in mind the end goal to
The hunt of identity topic is likewise focal in "To the Lighthouse". Albeit every one of the
characters draws in themselves in a similar mission for important experience, the three primary
he would like to comprehend the world and his place in it by working at rationality and perusing
books. Mrs. Ramsay conducts her inquiry through instinct as opposed to keenness; she depends
on social customs, for example, marriage and supper gatherings to structure her experience. Lily,
then again, tries to make importance in her life through her artistic creation; she looks to bind
Much the same as the characters in Mrs. Dalloway, these ones experience changing
degrees of achievement in their mission for reputation; however none lands at a disclosure that
satisfies the inquiry. As an old man, Mr. Ramsay keeps on being as tormented by the apparition
of his own mortality as he is in youth. Lily, as well, figures out how to wrest a minute from life
and loan to it significance and request. Her artistic creation is a little demonstration of that battle.
In any case, as she reflects while contemplating the significance of her life, there are no
"extraordinary disclosures" yet just "minimal every day supernatural occurrences" that one, if
fortunate, can angle out of the dull. Mrs. Ramsay, as she takes after Mrs. Dalloway most nearly,
is the special case which accomplishes "snapshots of being" in which life appears to be loaded
with significance, yet, as her supper party clarifies, they are horribly brief. Virginia Woolf
demands the temporariness of these serious sentiments, and on an attending craving to protect
Is all the more intriguing that Woolf trusts the material of memory and the material of
writing are created from a similar string. Composing happens as a reaction to being, while acting
naturally is experienced most furiously in the short life of epiphanic time. Composing the past
constitutes both the likelihood for recuperating and the wellspring of what she calls the
"genuine." The "genuine" exists both "behind appearances," just as it were a mystery, escaped
ordinary view, observationally difficult to reach in everything except the most extraordinary
minutes, and it is at the same time what Woolf designs for herself with dialect. In this detailing,
interpreting or making an interpretation of experience into words is the methods through which a
hint of the "genuine" gets to be realized and "entire," as Virgnia Woolf verbalizes a hypothesis of
experience where the word checks as well as makes reality. The word consequently rehashes
what has been unclearly seen, and it is decisively this redundancy that brings presence,
legitimate, to related knowledge. Dialect along these lines is important to the very state of being
and knowing. For Woolf, a "genuine" exists, dependably, some place, just as it were connected
with place, however generally we can't get to or see it, unless it is through memory: certain
minutes from the past "can in any case be more genuine than the present".
One part of identity which has been experiencing change in both socio-political and
social representation since the change of woman's rights in the late 1960s is the 'lady address'. In
the second 50% of the century, a fundamental worry with lady as the protest of anecdotal
universes and as literary subjectivity is run of the mill of both the more by and large
"traditionalist" (Fay Weldon, Margaret Drabble, Anita Brookner) and more test composition (in
various ways, Iris Murdoch, Angela Carter, what's more, A. S. Byatt). The converging of various
sorts has been a standout amongst the most essential gadgets, utilized by ladies scholars to adapt
to an open thought of identity: for instance, A. S. Byatt's work is set apart by a consistent
interchange of anecdotal classes (Possession: a Romance, 1990), while Angela Carter is viewed
as the agent of another subgenre, the reworking of tales and long tales, which she "returns to"
through sexual orientation concerns (The Bloody Chamber and Other Stories, 1979).
Angela Carter, one of Britain's most unique, provocative contemporary authors, was a
social subversive who was intrigued and irritated by the effect of mainstream culture on sex
legislative issues. Her work treats issues of female sexuality, sensuality, and violence with a
transgressive cleverness that dazes and panics, leaving perusersquestionable whether to giggle,
shout, on the other hand cry. Utilizing a pastiche of conventional literary structures, Carter
conflated sentiment with authenticity and implanted the picaresque with the obscene, the Gothic
with the twisted, and the fable with the fabulous. In spite of the fact that she was noted for her
lavish creative exposition, Carter's irreverent subjects, underhanded mind, flippant tone, and
radical liberal/women's activist legislative issues added to her uncontrollably factor literary
gathering.
Angela Carter's The Bloody Chamber and Other Stories (1979) is a development towards
matriarchal, oral, narrating custom, she revised tall tales from a woman's activist perspective in
the short stories gathered in The Bloody Chamber (1979) - where she expressed the need for
female cleverness and autonomy. The collection contains ten stories which shift significantly
long, - including rewritings of "Bluebeard," and two re-workings of "Beauty and the Beast.
They challenge the way ladies are spoken to in children's stories, yet hold an air of custom and
tradition through her enticingly expressive composition. For case, in the opening story "The
Bloody Chamber", which is a retelling of the Bluebeard story, Carter plays with the traditions of
standard children's stories. Rather than the courageous woman being protected by the clich male
saint, she is saved by her mom. The stories are upgraded to more cutting edge settings, in spite of
the fact that the correct eras stay obscure. Stories, for example, "The Bloody Chamber" and "The
Company of Wolves expressly manage the terrible or ruining parts of marriage or potentially sex
Literacy
In The Book Thief, there has been much focus on Death, the narrator by the reviewers of
the book. Although Death as a narrator is fascinating because death is usually seen as an end to a
story, not a beginning to a story, especially in the settings of World War II and Nazi Germany, it
seems many other themes are overlooked, in particular, the theme of literacy. Literacy is a
powerful, pervasive theme throughout the novel, especially in Liesels life. One such instance
when literacy demonstrates its power is when Liesel, her family, and her family friends are all
hiding in the basement during an air raid. She opens up her book to read out loud as the basement
begins to turn into a warm chaosswimming with humans (Zusak 380). Reading out loud
helps Liesel to keep her composure and detach herself from the chaos. Death states that the book
thief saw only the mechanics of the wordstheir bodies stranded on the paper, beaten down for
April16, 2015 entitled Literacy in The Book Thief: Complicated Matters of People, Witnessing,
DeathLiteracy provides Liesel comfort and consistency in the frenzy, asshe is focused on just
reading what the words are, rather than taking into account what the wordsmean. Although the
language describing Liesels act of reading out loud is violent, as the wordsare beaten down for
her to walk on it shows how Liesel is in control over the language. Thus, it demonstrates how
Liesel and literacy have a relationship in which they influence each other, as literacy enables
Liesel to read and gives her control, but at the same time Liesel is able to be incommand of her
own ability to read. Furthermore, Liesels act of reading out loud andcomposure catches the
attention of others in the basement, and By page three, everyone wassilent but Liesel (Zusak
381). Liesels reading gets to the point where the youngest kids weresoothed by her voice, and
everyone else saw visions of the whistler running from the crime scene(Zusak 381). In this
moment, we see literacy is powerful as it enables Liesel to keep calm, andher calmness affects
others to compose themselves as well in a time of catastrophe, to take theirminds off of the idea
of death and let their imagination run with the story they are listening to.
Julian Barnes's, Flaubert's Parrot (1984) sets an unpredictable inter-textualweb of
suggestions, references inside the obviously sensible story of Geoffrey Braithwaite, a resigned
English specialist now openly reveling a long lasting interest/fixation on Gustave Flaubert, the
celebrated creator of Madame Bovary. Going through Rouen and Croisset on the trail of the
French author, Braithwaite finds two stuffed parrots which are asserted to be Flaubert's parrot,
henceforth the obstination to research the author's open and private life,through his journals,
letters and numerous other sorts of composing, to find which of the two parrots truly had a place
with him. Underneath this account, nonetheless, runs a further individual dramatization,
concerning the treachery and passing of the storyteller's significant other. The look for
"genuineness" - in workmanship and additionally enamored - in this manner frames the binding
together theme of the work, which advances as a half and half, subjective, fragmented and
conflicting collection of fiction, literary criticism, parody, life story, and also medieval bestiary,
'prepare spotter's guide' and even examination paper. This mixture of writing classes subverts all
routine ordered limits yet, regardless of its reading material "postmodern" systems ('bricolage,'
lack of quality of the account voice, phonetic reluctance), the novel stays steady in its mission for
recorded truth, focusing on the need of both recognizing the hopelessness of the past and figuring
Moshe Halbertal in the book People of the Book: Canon, Meaning, and Authority
states, The Jews became the people of the book after a long history that defined the
relationship of the community toward the canonized texts and established the diverse functions of
texts (Halbertal 10). The relationship of Jews with the literacy was changed after the Holocaust,
from that of being an approach to interface with their consecrated writings. Literacy turned into a
noteworthy instrument as it empowered, and still keeps on empowering, the Holocaust Jews to
remain as observers to their encounters and reconnect to the past, as "numerous Holocaust
survivors likewise offer declaration to the world, express their pain over lost ones, and endeavor
to reestablish particular characters of casualties through names and individual voices" through
composing. Did Holocaust survivors compose, as well as Jews experiencing the Holocaust
composed too. The Jewish personality is protected and proceeded with as a result of seeing and
recollecting through education, as Zoe Waxman in Writing the Holocaust: Identity, Testimony,
Representation claims that Jews did not have any desire to be recalled just as detached casualties,
additionally "for their attempts to document their experiences" (Waxman 31); in this manner
proficiency is huge to the Jews since it gives them an approach to characterize the spots they
Literacy moreover, enables Liesel and Max to observetheir encounters and share their
accounts. Like Max who writes to share his story, Liesel thinks of her own account close to the
finish of the novel. Liesel's attempt to keep in touch with her own particular story makes her a
logical Jew, as her written work helps her reconnect to her past, seeing to her sibling's passing,
existence with the Hubermanns, existence with Max, and even a few sections of Max's life.
Holocaust writing not just helps the world comprehend what has occurred in Nazi Germany,
additionally helps the survivors themselves interface with the past as they raise recollections of
not exactly what they had experienced, but rather the recollections of the group they had been a
thatThe writing, everywhere embattled and often close to exhaustion or expiration, gives
testimony to the dead, even as it declares that the places where they died are already receding
from memory (Rosenfeld 187). Like a Jew, Liesel remembers her past and her sibling's demise
by perusing the book connected to her sibling's passing, and by expounding on him in her
account.
Summary
Most of the 20th century literature was dominated mostly by the theme of war including
the themes of isolation, fragmentation, alienation and sufferings of war. The twentieth century
began with the Boer War that triggered the World War I, and then went through World War II,
Korea, Vietnam, The Balkans, Granada, The First Gulf and many other wars. The effects of these
wars have been taken by many literary authors as the most common and major theme of their
writings. The annihilation was expert by bombarding urban areas and towns without ever
confronting the enemy as in past wars. Entire towns were pulverized, families were removed.
Subsequently, when discussing British Literature, the majority of the twentieth century fiction,
verse and short stories particularly that are created have the regular subject of forlornness. A
significant part of the written work is set apart by profound mental injury.
nineteenth century. Victorian writing brought gothic components, sentiment, social equity and
powerful subjects. Peers need to develop or move past those components. Another authentic or
social impact on the subjects in English writing is the change in England's part on the planet.
Amid the late nineteenth and early twentieth century, England was the overwhelming force to be
reckoned with its solid feeling of colonialism and its foundation of states and political impact all
over the world. After the First and considerably more-so after the Second World War, England's
worldwide reach is debilitated. This adjustment in world view changes the writing. There are
work associations ascending in power. Females are affirming their equivalent rights. There is a
great deal more thoughtfulness regarding social enactment and welfare concerns. The nation
moves towards its more cutting edge communist state. These worries turn into the subjects of the
writing.
For British authors, composing "sensibly" involves endeavors at speaking to the new
post-war life-the completely changed setting of social welfare and the approach of another, more
law based society, the realignment of social classes, and the rise of new 'subjects', prominently
women and the non-British ('vagrant' or 'outsider') populace, and the move to a mass consumerist
parts of life to work, to the desires achieved by social reformism and political change, and to the
move seeing someone, frequently observed in generational, sexual orientation molded terms. In
the fiction of the post-war years, there are no effectively identifiable lines of improvement. It is
just conceivable to talk about individual writers, some of whom share specific topics and
methods in their work, and to plot a couple of overwhelming patterns. In the late 1940s and mid
1950s, after the mourning of World War II, the general population did not search for dominating
new thoughts what's more, styles, however for solace and consolation in writing. In any case, by
1955 the old qualities and convictions which religion and country had generally given were
being addressed, and another era of basic youthful authors, writers and craftsmen developed. The
1950s were described by the presence of Neo-authenticity, a pattern which conflicted with
Modernism.
The Second World War left wild effects on the human progress. The post-World War II
period was basically described by sorrow and tension as the postwar changes neglected to meet
magnified goals for certified change. This extremely devastate prospect is additionally obvious in
the writing of the twentieth century. These unfriendly effects of World War II made a few new
customs in writing. One such development advanced in the early 1950s. This profoundly new
age was named as the Angry Young Men Development. The writing of this age primarily spoke
to an insubordinate and basic disposition towards the postwar British society. The "furious young
fellows" included a gathering of English writers and dramatists, generally having lower-middle
the time of the Post-World War II School of authors, the purported furious youthful men of the
1960s. Writers, for example, Alan Sillitoe, Kingsley Amis what's more, John Braine were
generally under 30, and like a large portion of the British audience at the time, they imparted
eagerness to custom, power and the decision class. Their works mirror their outrage and
dissatisfactions. Numerous books are set in common laborers regions of discouraged urban areas
in the modern north, and contain sexually express scenes. Exchange is frequently done in local
vernaculars, giving a solid feeling of the characters' identity and social foundation. The heroes of
these books are 'outcasts'. They don't relate to current society. Like the creators themselves they
are restless, disappointed and reproachful of routine profound quality and conduct. They feel
angry and frail, and in some cases are brutal. The making of uneducated, undisciplined saints is a
takeoff from literary traditions, yet it implied that dispute, genuineness and openness are brought
into writing (not just in novel and show, additionally TV and film) by a gathering of authors who
The noteworthy contemporary fiction essayists of Helen Dunmore who demonstrate their
enthusiasm for chronicled, war and other such contemporary topics are likewise excellent
authors. Antony Beevor is Britain's driving military student of history. Dunmore credits Antony
Beevor's Stalingrad for its military history. She additionally respects him for well catching the
surroundings of German troops what's more, their breaking down, additionally the sheer habit of
choices individuals make in war. Dunmore is not an instructive author, and she sees a reasonable
refinement between herself and military student of history, Antony Beevor. Utilizing a little cast
of characters - basically one family in her novel, The Siege she delineates the hardships of
Leningrad and the assurance of its kin so strikingly that the truth of the attack is unpreventable
and remarkable. The attack of Leningrad specifically left a profound stamp on the aggregate
memory of Russia, attributable to the intemperate number of regular folks executed and the
unpleasant sufferings of the general population particularly amid the interminable first winter.
Such occasions have been managed Helen Dunmore while Antony Beevor expounded on the
Beevor advanced a style of composing that moved flawlessly between issues of state,
military technique, and individual records of life on the cutting edge, as though mixing the
history specialist's objectivity with the writer's eye for detail. On the opposite, the capacity to
consolidate striking insights about individuals' involvement of warfare with the more extensive
breadth of story history is one of Helen's incredible abilities. She didn't survive the Nazi
barricade of Leningrad. However Dunmore has taken the outsider milieu and made a story that
works. She writes in the current state, which can be as incensing as the past flawless, however a
significant part of the time her words shadow her creative energy firmly enough to give the
striking instantaneousness the style requests. The story is told through the eyes of one family
who are attempting to survive physically and mentally through this period. Helen Dunmore's The
Siege splendidly demonstrates the epic battle of normal individuals to get by in a period of
violence and dread. Various books have been composed about the attack of Leningrad yet this
one emerges for two reasons. One is that it covers just the initial couple of months, that repulsive
first winter in which such a variety of individuals died, frequently while out in the city in hunt of
nourishment. The other is that it takes a gander at the attack from a social instead of military
perspective, specifically from a lady's point of view. Beevor applauded Dunmore's composition
for its recorded precision, and he valued that in correlation with some verifiable writers she
doesn't attempt to novelize characters. Dunmore included the force of the characters. She gets a
kick out of the chance to give a thought of her characters living in the present minute, which is
another motivation behind why she is exceptionally inspired by the tactile characteristics of
everyday life how individuals ate and dressed. Beevor likes her approach of reproducing the