Thematic Analysis Quotes

Yeah,” I agreed, “the author just immediately tries to write down as many emotions as possible. Initially, I thought that the method of writing was ineffective, but eventually, I realized how the structure potently manifested her passion for her own thoughts about mental illness and the restrictions of herself and the woman in the yellow wallpaper. First off, the experience-oriented writing was relevant to the conveyance of the author’s ideas, because since the writing was, well, about experiences, the issues the author was addressing appeared to be more based on the reality of society, not a hypothetical model of it, and the issues really were based on the reality of society, since some of the events in the book were actually based on events in the author’s life. Also, the spontaneity and honesty of the writing was an effective choice of the author. I observed that the narrator’s silence in the presence of her husband and her spontaneous and expressive writing were juxtaposed, which emphasized the restrictions the narrator was put in and also her progressive views on mental health and her ability to stay true to herself. Also, this way of writing exemplifies that the narrator had to hold in so much thought because of her restrictions. She wrote without hesitation! In other words, her spontaneous writing and the lack of thematic structure in her writing showed her ability to stay true to her own beliefs.

If Ward is right, Lewis has crafted each novel in the light of the atmosphere associated with one of the planets in the medieval tradition. This does not necessarily mean that this symbolism determines the plot of each novel, or the overall series; it does, however, help us understand something of the thematic identity and stylistic tone of each individual novel. Ward’s analysis is generally agreed to have opened up important new ways of thinking about the Narnia series, although further discussion and evaluation will probably lead to modification of some of its details. There is clearly more to Lewis’s imaginative genius than his earlier interpreters appreciated. If Ward is right, Lewis has used themes drawn from his own specialist field of medieval and Renaissance literature to ensure the coherency of the Chronicles of Narnia as a whole, while at the same time giving each book its own distinct identity.

Objectively hammering out a grim list of chronological facts with a dispassionate voice is a Scribner’s task; writing the story of a person’s own life calls for one to see the icon that lies behind deluge of facts. No raw truths will ever be discerned must less shared by the storyteller to an audience of soul brothers in absence of the author’s resolute effort to shape the pliable clay of human discord, anguish, and incomprehensible wanting into a decipherable fable while aiming to distill moral truths. There can be no story told without psychological investigation. Storytelling includes granting oneself leave to engage in subjective digressions, selection, and prioritizing. We only find important parts of our self, if we engross in thoughtful rumination, explication, and analysis. We cannot make sense of what we discover in absence of attempted identification and positing resolution of conflicts that ongoing quarrels encumbers our conceptual inventory with stabs of guilt and slices of self-loathing. The best told stories lead to therapeutic application of liberal dosages of a healing balm spiced with strokes of thematic juxtapositions and catholic combinations.

Thus in Twelfth Night the fact that Malvolio is called demon-possessed, and is associated with the devil over and over again, points to his thematic role in the play. Like Satan, he is sick with self-love, falling by the force of his own gravity, as Chesterton said. Of course, Malvolio is a comic devil, not nearly so threatening as Iago or Shylock, but he is a devil nonetheless. And his devilry is manifest particularly in his desire to end the gaiety of Olivia’s house. Here especially the title of the play comes into its own. Twelfth Night is named for the last night of the Christmas season, the final celebration of the Incarnation. It is a night for carnival, for suspension of the serious and structured. Malvolio wants to stop the merriment, and so it is fitting that he is ultimately excluded from it. But more: Malvolio is not only excluded from the comic climax of the play. He is excluded and overcome through trickery, practical joking, mirth. Satan digs a pit for the merry, but Satan falls into the very pit of merriment. And it tortures him forever. In the final analysis, that is the practical import of all that has been said in this little book: the joy of Easter, the joy of resurrection, the joy of trinitarian life does not simply offer an alternative “worldview” to the tragic self-inflation of the ancients. Worked out in the joyful life of the Christian church, deep comedy is the chief weapon of our warfare. For in the joy of the Lord is our strength, and Satan shall be felled with “cakes and ale” and midnight revels.

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