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Essay / Research Paper Abstract
A 6 page essay in which the writer argues that finding and defining a feminine voice is the most crucial and central thematic factor in Alice Walker’s The Color Purple. This novel, which is written as letters, that is, in epistolary form, demonstrates how the voice of the protagonist, Celie, changes from that of an abused, traumatized child to the voice of a mature, secure woman. This voice differs dramatically from the patriarchal assumptions of the society of Celie’s era, which is the early twentieth century, as Celie’s perspective slowly evolves away from the paradigms of mainstream culture and she emerges as an independent, spiritually-centered individual. No additional sources cited.
Page Count:
6 pages (~225 words per page)
File: D0_khfemcel.rtf
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Unformatted sample text from the term paper:
is written as letters, that is, in epistolary form, demonstrates how the voice of the protagonist, Celie, changes from that of an abused, traumatized child to the voice of a
mature, secure woman. This voice differs dramatically from the patriarchal assumptions of the society of Celies era, which is the early twentieth century, as Celies perspective slowly evolves away from
the paradigms of mainstream culture and she emerges as an independent, spiritually-centered individual. As this suggests, Walkers choice of themes and her handling of characterization indicate a distinctly feminist
orientation; however, her choice of format, that is, the epistolary form, helps to ensure that the narrative voice of the novel is true and consistent with the evolving character and
perception of Celie, as well as Nettie, who is the author of later letters in the novel. In other words, the narrative voice, at all times, consists of each letter-writers
voice within each section of the novel. As in any first-person narration, the letter-writers perspective is confined to her own particular consciousness, as she cannot know what others characters are
thinking or feeling, but only relate their actions or expressions. However, in epistolary fiction, this perspective is even more confined than in other forms of fiction.
In a novel in which the narrator is recounting the entirety of the action after the fact, the narrator already knows everything that happened and can reasonably foreshadow coming action.
An epistolary narrator only knows as much of the story as has occurred at the time that the letter was written. In other words, Celie does not know, as does
Charlotte Brontes Jane Eyre, that her story will end happily. This format helps Walker in creating and maintaining narrative suspense. The first fifty letters in the novel are addressed
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