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Essay / Research Paper Abstract
An 8 page research paper/essay that discusses Virginia Postrel’s writing on style, design and aesthetics and than applies her ideas to the writing of Tim O’Brien in “How to Tell a True War Story.” The writer argues that O’Brien uses aesthetics to convey meaning about the nature of war experience. Bibliography lists 6 sources.
Page Count:
8 pages (~225 words per page)
File: D0_khposob.rtf
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Unformatted sample text from the term paper:
the bodies and the minds of the soldiers involved. All Quiet on the Western Front and The Red Badge of Courage come to mind of classic novels that relate the
horrors of warfare in a logical and chronological fashion. Tim OBriens war fiction, such as his story "How To Tell A True War Story" (excerpted from The Things They Carried,
points out a major fallacy in such a logical construction, which is that war does not make sense. OBriens narrative style mirrors the reality of war, in that its fractured,
disjointed and non-linear. His stream of conscious narration recreates the way in which his narrator thinks and feels. In conveying this, OBrien also informs his readers as to how
the soldiers in his story construct their sense of identity, as well as their perception of reality. In understanding this aspect of OBriens work, the views of Virginia Postrel concerning
aesthetics both complicate and elucidate OBriens style. Postrel, in her essay "Surface and Substance" (excerpted from The Substance of Style), argues that aesthetics are an increasingly important aspect of life
in the contemporary era. A close examination of both works demonstrates how OBriens fiction shows Postrels assertions to be true. However, to discuss this position effectively, require, first of all,
summarizing the work of both Postrel and OBrien. Aesthetics, according to Postrel, aid people in defining themselves by the "look and feel" of their "possessions, their environments, and even
their own bodies" (Silber 58). This focus on aesthetics originates not simply from an increasing affluent and materialistic society, although this does play a role, but rather is "deeply rooted
in human nature," as Postrel points out that impoverished individuals, throughout history, have consistently participated in art and design, incorporating these elements into their culture (Silber 58). It is for
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