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- Extremely Loud And Incredibly Close
- Comparative Literature Studies
- Extremely Loud and Incredibly Close by Jonathan Safran Foer
Oskar Schell is a nine-year-old boy grieving the loss of his Dad , Thomas Schell, who died in the terrorist attacks on the World Trade Center on September 11, Oskar, who was never as close with his Mom as with his Dad, is growing even farther away from her. Even though this Mr.
Extremely Loud And Incredibly Close
Page 4. Page 5. Page 6. Works cited and consulted Introduction: Never Forget is a popular slogan. Even today masses of memorabilia, t-shirts, mugs, souvenir coins etc.
In this connection, Turnery states that rememberance is a performance of memory. Immediately after the crisis of death, ephemeral memorabilia promotes the task of rememberance see They go on by quoting Benjamin, who states there is no document of civilization which is not at the same time a document of barbarism see Taking a look at September 11 from a historical or political context seems to be difficult and a somewhat risky endeavour.
Unlike World War II, the event is still too present in the minds of the victims. The necessary distance which is needed to talk ''objectively'' about the attacks seems to be not fully achieved yet. After the event, the schizoid character of America became visible, namely ''veering crazily between grief and a pep rally for team America'' see Creating a non-judging, rather objective depiction without any glorification or pathos, while doing justice to the victims' emotions at the same time seems to be a nearly impossible task.
In this context, Craps states that the events of 11 September has caused a raptus not only in the normal order of things but also, and perhaps especially in the signifying systems see Vees-Gulani states in this connection that writing is a powerful tool in dealing with stressful events.
It can help to improve both physical and psychological help see Dealing with exactly this issue, namely writing about a traumatic event, Jonathan Safran Foer's novel Extremely Loud and Incredibly Close endavours to adequately?
In my thesis, I will try to analyze the role of trauma throughout Foer's novel. Written in , only four years after the event, the book not only tries to show the effects of a traumatized mind, but also visualizes traumatic experience in terms of layout and structure. Nevertheless, Crostwaithe mentions Jameson and Lacan by stating ''[ However, ''writing trauma'' LaCapra qtd in Uytterschout 65 seems to be a key term when it comes to a deeper analysis of Extremely Loud and Incredibly Close.
Foer uses different techniques to highlight the meaning of a passage's content graphically, or even give it an additional meaning. The second part of my paper, directly following this introduction, will briefly try to introduce the reader to some scholars' definition of trauma.
Due to the fact that this thesis is concerned with literary and cultural studies, it is not my wish to attempt a full and detailed psychological analysis of trauma, the novel as a whole, its author or the characters presented in the book. The versatile character of traumatic experience does not permit superficiality or generalizations. An attempt to fully grasp and describe trauma seems therefore futile from the very start. The only possibility of a description is by highlighting certain patterns of trauma victims and carefully linking these patterns to definitions, theses or genereal overlappings, which seem to be plausible without being too superficial.
The third part of my thesis, entitled 3. Analysis will be comprised of 3 different parts. Even though the novel presents various side-characters, such as Oskar's mother or Oskars neighbor, I will focus my analysis only on those trauma victims which I deem most central, their character, behaviors and their respective representation of trauma exclusively and as follows: Oskar Schell, the nine year old protagonist of the book, who lost his father in the attacks on the World Trade Center.
Thomas Schell, his grandfather, a victim of the allied bombing of Dresden during World War II, who lost his girlfriend and their unborn child in the attacks and since that day suffers from aphasia.
And finally Grandmother Schell, Oskar's paternal grandmother, who is not only the sister of Thomas Schell's dead girlfriend, but also the wife he leaves behind after she carries his baby, namely Oskar's father. However, due to readability and the genereal flow of my thesis, it is impossible to talk about one single character in isolation from the others in all of the respective sections of my paper.
Their lifes and stories are linked in an inseparable way. Segmenting the analysis of the characters too much would not reflect the novel's nature, which presents its plot and fills important gaps in the reader's knowledge by its multiperspectival narrative presentation. I will, however not only attempt to connect the book's content to its structure, but will try to link it to the questions: Do the different structural aspects support the content of the passage?
Do they contradict it? Or can they not be linked to the content they give shape to at all? Even if structure, in terms of using different fonts, gaps, images etc. A detailed analysis of the various images used throughout the whole book is therefore not included, since it would simply burst the frame of this paper. Only when it is absolutely necessary for the analysis are the images and photos that are frequently used throughout the whole novel taken into discussion1.
In the third and final part of my thesis, namely my Conclusion, I will try to sum up my overall findings, discuss them and try to connect them to different trauma theories and other secondary literature. Trauma theories, a brief introduction: As stated before, this section will not provide readers with a ''full'', ''waterproof'' definition of trauma.
Any attempt would not only be futile, but also pretentious. The following theories are rather intended to introduce the reader to basic trauma theories. I generally tries to apply these theories as tools of interpretation, in order to fully grasp the representation of trauma throughout Extremely Loud and Incredibly Close.
In essence, this thesis therefore tries to heed Cathy Caruth's statement: The aim [ I am interested not so much in further defining trauma, that is, than in attempting to undestand its surprising impact Kilby states that trauma trauma theory is one outcome of a deconstructive search, such that trauma scholars have met the demand by arguing that the failure to represent the impact of trauma testifies to the reality of its impact.
There are simply no images or words which can capture the traumatic event see She higlights the fact that trauma insists on a past that has never been present. Trauma is therefore impossible to experience at the time and is difficult to grasp in the here and now. One of the most renowned experts on the field of trauma is Dominick LaCapra, who attempts to link psychology and historical studies in order to analyze trauma. His main field of research is the Holocaust and its aftermath.
LaCapra states that a trauma is almost never completely mastered. Trauma victims thus often repeat the traumatic event in their minds, since they can never forget what has happened to them LaCapra mentions two fundamental forms of remembering traumatic events, namely "acting out" and "working through" see ; Yet, he highlights the fact that there is no absolute distinction between both forms, which Rubenstein summarizes as follows: In acting out, one compulsively relives the traumatic event s of the past in the present.
Loyalty to deceased family members or friends, for example, can sometimes prevent survivors and their offspring from moving beyond repetition. Such a person is never wholly trapped in the past. However, LaCapra's theories are highly complex and are only presented in a simplified and abridged form throughout this thesis. Nevertheless, for the purpose of this paper, even the simplified version provides valuable information for analyzing and interpreting the presentation of trauma in Extremely.
The aspect of ''Writing Trauma'' see LaCapra is central for my analysis of the novel and shall be applied and discussed later at greater detail. Craps quotes Derrida by stating that the terrorist attacks on the World Trade Center and the Pentagon has radically unsettled the ''conceptual, semantic, and hermeneutic apparatus that has allowed people to foresee, comprehend, interpret, describe, speak of, and name 'September 11'.
By that, traumatism and coming to terms with it through a 'work of mourning' is neutralized see Derrida in Craps Furthermore, it can neither be defined in terms of a disortion of the event. Caruth in Kilby She goes on by mentioning that the root of trauma is found in the structure of its experience or reception. A traumatic experience can only be historical if it manifested itself at a later date Caruth in Kilby Lindahl, on the contrary, even believes that trauma could be initiated by fairytailes, images or TV broadcasts.
He yet contradicts himself by mentioning that children who are exposed to mediated violence by movies, video games and cartoons, are sort of immune to ''the image of the planes melting into fire'' Lindahls statement seems a bit superficial and too easy, though.
Again generalization is a big issue. Alluding to the 'modern child' who numbly stares at the silver screen, watching people die without any emotional involvment seems to satisfy superficial readers exlusively. Caruth, one of the most renowned authors when it comes to trauma theory even explicitly states that it is difficult not to generalize different stories of trauma into a single one see vii.
Caruth highlights yet another important aspect of trauma, namely ''the event's essential incomprehensibility, the force of its affront to understanding'' Caruth in Craps Fully grasping a trauma victim's suffering seems therefore nearly impossible, too.
Yet certain patterns seem to overlap, such as the feature of repetition. Kauffman states that trauma is twinned with repetition, not only because it can activate childhood incidents, but because of the fact that the victim becomes locked in the compulsion to repeat see In this connection, another typical sign of trauma is highlighted by Vees-Gulani , namely avoidance and partial amnesia see 27, Not only the analysis of trauma and its multiple embodiments remain a difficult task.
Writing about traumatic experience presents an equally challenging mission. Vees-Gulani states texts that try to reflect or present trauma often appear contrived or melodramatic. Part of the difficulty of fictionalizing trauma is thus also the problem of finding the fitting language and style to represent the experience, so that the story still comes across as truthful and real see This seems to be a problem most prominent in the presentation of September However, these problems do not come out of the blue.
In connection to the book with which this thesis is concerned, she highlights the fact that Extremely does not necessarily abandon postmodern principles totally. The often suppressed, traumatic event has to be reclaimed in order to guarantee a recovery see Laub Foer's novel might be seen as an attempt of regaining this exact ''linguistic control'' see Craps 55 , over the traumatic event.
Comparative Literature Studies
Nine-year-old Oskar Schell is an inventor, amateur entomologist, Francophile, letter writer, pacifist, natural historian, percussionist, romantic, Great Explorer, jeweller, detective, vegan, and collector of butterflies. When his father is killed in the September 11th attacks on the World Trade Centre, Oskar sets out to solve the mystery of a key he discovers in his father's closet. It is a search Homeschool Resources extremely loud and incredibly close jonathan safran foer amazon extremely loud and incredibly close by jonathan safran foer michelle Extremely Loud and Incredibly. Books on Google Play extremely loud and incredibly close by jonathan safran foer wife extremely loud and incredibly close by jonathan safran foer read online extremely loud and incredibly close by jonathan safran foer extremely loud and incredibly close by jonathan safran foer divorce extremely loud and incredibly close by jonathan safran foer vegan Download Extremely Loud and Incredibly Close Audiobook by Jonathan Safran Foer narrated by Jeff Woodman Barbara Caruso Richard Ferrone. Free UK delivery on eligible orders. Extremely Loud and Incredibly Close Amazon.
It is obvious that Foer's and Grass's protagonists are disconcertingly similar to each other. On the surface, their most conspicuous similarities are their shared first name and a penchant for percussion instruments, a tambourine and a tin drum respectively. These superficialities aside, The Tin Drum and Extremely Loud and Incredibly Close both deal with life in the wake of manmade cataclysm. Both boys acutely experience the threat and evils of war: Oskar Schell's family falls victim to September 11, and Oskar Matzerath is the seemingly [End Page ] impassive eyewitness of several World War II—related acts of terror, ranging from the atrocities on the Night of Broken Glass to the siege of the Polish Post Office and the subsequent annexation of the free city Danzig—his hometown—into the Third Reich. And with "th[at] mind of [his] which persists in excreting syllables," Oskar Matzerath's cognitive activities display a striking resemblance to Oskar Schell's overactive imagination, in both cases presumably a by-product of trauma. Rather, similarities on the plot and thematic level are complemented by a set of characteristics typical of both trauma fiction and magical realism. A year after these events, we find Oskar in a state of hyperactivity and hypervigilance, about to embark on what appears to be a wild goose chase across the five boroughs of New York City.
Puzzles might seem like a light-hearted pastime, but Oskar takes puzzles extremely seriously. National trauma is deeply connected to individual trauma throughout the novel. Oskar maintains a long catalog of rituals that regulate his behavior. For example, Oskar refuses to get onto public transportation, preferring to walk everywhere, even if it takes hours. Every time he meets one of the….
Extremely Loud and Incredibly Close by Jonathan Safran Foer
Ролдан нахмурился. Голос показался ему отдаленно знакомым. Он попытался определить акцент - может быть, Бургос.
Он не имел ни малейшего желания затеряться в подвальных коридорах АНБ с сопротивляющейся изо всех сил заложницей. Это смертельная ловушка. Если даже он выберется на улицу, у него нет оружия. Как он заставит Сьюзан пройти вместе с ним к автомобильной стоянке.
- Никакой усложненной структуры, один лишь инстинкт: жри, опорожняйся и ползи. Вот что это. Простота. Губительная простота. Он делает то, на что запрограммирован, а потом исчезает. Фонтейн сурово смотрел на Джаббу: - И на что же запрограммирован этот червяк. - Понятия не имею, - сказал Джабба.
Да. Меня зовут Северная Дакота. Нуматака подавил смешок. Все знали про Северную Дакоту. Танкадо рассказал о своем тайном партнере в печати. Это был разумный шаг - завести партнера: даже в Японии нравы делового сообщества не отличались особой чистотой.
Extremely Loud & Incredibly Close. Pages · · MB ·.
Сирены продолжали завывать; то и дело вспыхивали сигнальные огни. Тремя этажами ниже дрожали и гудели резервные генераторы. Сьюзан знала, что где-то на дне этого погруженного в туман подземелья есть рубильник. Кроме того, она понимала, что времени почти не оставалось.
Нет. Но если он посмотрит на монитор и увидит в окне отсчета значение семнадцать часов, то, будьте уверены, не промолчит. Стратмор задумался. - С какой стати он должен на него смотреть? - спросил .
Несколько этим озадаченная, она вызвала команду поиска и напечатала: НАЙТИ: СЛЕДОПЫТ Это был дальний прицел, но если в компьютере Хейла найдутся следы ее программы, то они будут обнаружены. Тогда станет понятно, почему он вручную отключил Следопыта. Через несколько секунд на экране показалась надпись: ОБЪЕКТ НЕ НАЙДЕН Не зная, что искать дальше, она ненадолго задумалась и решила зайти с другой стороны. НАЙТИ: ЗАМОК ЭКРАНА Монитор показал десяток невинных находок - и ни одного намека на копию ее персонального кода в компьютере Хейла. Сьюзан шумно вздохнула.
Должен быть какой-то другой выход. - Решайте! - крикнул Хейл и потащил Сьюзан к лестнице. Стратмор его не слушал. Если спасение Сьюзан равнозначно крушению его планов, то так тому и быть: потерять ее значило потерять все, а такую цену он отказывался платить.
Так какая разница. Повисла тишина. Фонтейн, видимо, размышлял. Сьюзан попробовала что-то сказать, но Джабба ее перебил: - Чего вы ждете, директор. Позвоните Танкадо.
Может, заскочить на секунду, когда просмотрю эти отчеты. Бринкерхофф взял первую распечатку. ШИФРОВАЛКА - ПРОИЗВОДИТЕЛЬНОСТЬРАСХОДЫ Настроение его сразу же улучшилось.