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Example research essay topic: The House Of Spirits By Isabelle Allende - 1,660 words

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The House of Spirits by Isabelle Allende Isabel Allende was nearly 40 when she wrote her first novel The House Of Spirits. THE NEW YORK TIMES called the book a unique achievement, both personal witness and possible allegory of the past, present and future of Latin America. This essay will attempt to uncover the meaning of the irony and allegory in The House Of Spirits in connection with If You Touched My Heart by the same author, Kafka's Report To An Academy and Plato's Allegory of the Cave. The House Of Spirits tells about the events in Chile during the 20 th century, and how peoples lives depended on those events.

Isabel Allende manages beautifully to mingle fiction with reality, and tells the story of a family, and especially the relationship between a girl, who is telling the story, her mother and her grandmother. They are not the only characters in the book, and, as in real life, the story is filled with many different people that come through the door of anyones life, some stay for just a few seconds, some become best friends, some even enemies. But, even with so many different characters, they are very complex, yet very simple and real, which readers laugh and cry along with them all through the book. With humanity and compassion she writes about 3 generations of a family in a country that is a barely disguised Chile (Pablo Neruda is The Poet, while her uncle Allende is either The Candidate or The President). There's the Conservative grandfather who assists in the coup when the country might go Communist, the otherworld y grandmother, the mother who has sex with a peasant laborer and the granddaughter who tells the story. Even the villains have humanity and a place for redemption.

Over time, people soften and lose their angry natures. Only the country becomes more chaotic as teh people work out their problems (or one is predicated on the other) This is a beautiful book and better than my meager words could describe. Not only is it a triumph for Magical Realism but also humanity. The story spans several generations and is told in a conversational, almost brusque tone. Someones behavior might be described and then the comment this went on for several years is added, so the reader suddenly whisked up to a different date. The way the narration is done appears to be in an allegoric way, with much of exaggeration, because the descriptions are too detailed and there is no constant thread.

The irony that strikes the most is that the spirits mentioned in the title were only really a part of the scenery, not part of the story. In fact, the author is quick to point out how the most clairvoyant character, Clara, gives up her psychic explorations after an earthquake because she is needed in the real world this is another example of irony in the book. The most enjoyable part of If You Touched My Heart is how complete and concise the book is. In Allende's work there tends to be a propensity to drift as she introduces so many possible roads for the story / character to go to.

But the short story formula forces Allende to stay on topic / character and not digress into irrelevant historical facts. The only place, which could be termed as a flaw in the book is where a character and a situation touches briefly onto a former story or heralds something of a future tale. Unfortunately this skill is used so deftly in attempt to leave the reader clamoring, but it actually does not. The book, nevertheless, is one of the best among the short-story genre. Plato, one of the most famous philosophers of ancient Greece, was the first to use the term philosophy, which means love of knowledge. Born around 428 bc, Plato investigated a wide range of topics.

Chief among his ideas was the theory of forms, which proposed that objects in the physical world merely resemble perfect forms in the ideal world, and that only these perfect forms can be the object of true knowledge. The goal of the philosopher, according to Plato, is to know the perfect forms and to instruct others in that knowledge. Plato realizes that the general run of humankind can think, and speak, etc. , without (so far as they acknowledge) any awareness of his realm of Forms and The Allegory Of The Cave is supposed to explain this. In the allegory, Plato likens people untutored in the Theory of Forms to prisoners chained in a cave, unable to turn their heads. All they can see is the wall of the cave. Behind them burns a fire.

Between the fire and the prisoners there is a parapet, along which puppeteers can walk. The puppeteers, who are behind the prisoners, hold up puppets that cast shadows on the wall of the cave. The prisoners are unable to see these puppets, the real objects, that pass behind them. What the prisoners see and hear are shadows and echoes cast by objects that they do not see.

Such prisoners would mistake appearance for reality. They would think the things they see on the wall (the shadows) were real; they would know nothing of the real causes of the shadows. So when the prisoners talk they talk? If an object (a book, for example) is carried past behind them, and it casts a shadow on the wall, and a prisoner says I see a book, what is he talking about? He thinks he is talking about a book, but he is really talking about a shadow. But he uses the word "book. " What does that refer to?

Plato gives his answer at line (515 b 2). The text here has puzzled many editors, and it has been frequently emended. The translation in Grade/Reeve gets the point correctly: And if they could talk to one another, dont you think the'd suppose that the names they used applied to the things they see passing before them? Plato's point is that the prisoners would be mistaken. For they would be taking the terms in their language to refer to the shadows that pass before their eyes, rather than (as is correct, in Plato's view) to the real things that cast the shadows. If a prisoner says Thats a book he thinks that the word book refers to the very thing he is looking at.

But he would be wrong. Hes only looking at a shadow. The real referent of the word book he cannot see. To see it, he would have to turn his head around. Likewise, we may acquire concepts by our perceptual experience of physical objects. But we would be mistaken if we thought that the concepts that we grasp were on the same level as the things we perceive.

Kafka, Franz (1883 - 1924), Austrian (Czech) Jewish novelist and short-story writer, whose disturbing, symbolic fiction, written in German, prefigured the oppression and despair of the late 20 th century. He is considered one of the most significant figures in modern world literature; the term Kafkaesque has, in fact, come to be applied commonly to grotesque, anxiety-producing social conditions or their treatment in literature. Although he had studied law at the University of Prague, Kafka took a civil service post and wrote in his spare time. With the strain of this dual life, added to his anxiety and depression, Kafka contracted tuberculosis in 1917 and died in a sanatorium in Killing, Austria, on June 3, 1924. The themes of Kafka's work are the loneliness, frustration, and oppressive guilt of an individual threatened by anonymous forces beyond his comprehension or control. In philosophy, Kafka is akin to the Danish thinker Soren Able Kierkegaard and to 20 th-century existentialists (see Existentialism).

In literary technique, his work has the qualities both of expressionism and of surrealism. Kafka's lucid style, blending reality with fantasy and tinged with ironic humor, contributes to the nightmarish, claustrophobic effect of his work. Isabelle Allende's first novel, La Casa de los Espiritus, is a history of Chile through the female lineage. Here, as well as in her other books, she contrasts strong female characters against the traditional Latin American patriarchy. The women are the active, perceiving characters who confront traditional authoritarian power with their own marginalized power.

The women in Allende's novel achieve power through intellect, relationships, magic, and namely morality. The immorality of traditional authoritarian power is demonstrated through the men of the novel: Esteban Trueba, the patron of Tres Maria's, forces his will on his workers and keeps them economically subordinate. Esteban Garcia, Trueba's illegitimate grandson, represents the brutal, right-wing military that overthrew Salvador Allende in the 1970 s. Garcia derives power through cruelty, violence, fear, and intimidation. Miguel, a left-wing extremist, uses the violence of revolution to overcome the violent new right-wing regime. However, it is the female characters who are empowered and triumph over abusive power.

Esteban Trueba's clairvoyant wife, Clara, will never be dominated by her husband. Blanca, their daughter, refuses to give up her lower-class lover or remain in an arranged marriage. Alba Trueba, the protagonist and narrator, is involved in the recording of history like her grandmother, Clara, who kept dozens of notebooks throughout her life. Alba shows great moral character and strength of spirit when she is tortured by Esteban Garcia in the right-wing regime.

The female characters in Isabel Allende's La Casa de los Espiritus overcome vengeance and cruelty. They refuse to remain victims. They are powerful as a part of the cycle of history. Allende, like her characters, is empowered through the writing and recording of her own history, and the history of Chile. Works cited: Allende, Isabel. (1994 - 1997): n. pag.

Online. Britannica Online. Internet. 24 October 1997. Allende, Isabelle; The House of Spirits, Bantam Books; Reissue edition (August 1, 1986) Microsoft Encarta Encyclopedia, Microsoft Corporation, 2002 articles on Kafka and Plato


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