Prater Violet Was Above All Else a

Prater Violet was above all else a book meant to elaborate on the creative process as it pertains to film. And although Prater Violet as not intended an avenue for analysis of literary theories, the characters display behaviors and personalities that fall into several theories contemplated in Terry Eagleton' s: Literary Theory:An Introduction. New Criticism, as Eagleton explains, points to the non-essential qualities of novels in their lack of need of an author's life and experiences to draw from.

Analysis of the characters can be solely based on their own modalities rather than having anything derived from the writer. As New Criticism states that the author's life can stand to have no influence on the characters of a story, Structuralism also focuses on elements within works of literature refraining from concentrating on historical social, and biographical influences, but rather linguistics. As Eagleton stated in his book: "If the poem was really to become an object in itself, New Criticism had to sever it from both author and reader"(Eagleton 41).

Modern perspectives on literature attempt to dissect characters with the assumption that they are their own entity free from external influence brought on by the author. Two characters that will be briefly analyzed in this context from Prater Violet is Lawrence Dwight and Friedrich Bergmann. Friedrich Bergmann is an Austrian director fearful for the safety of his wife and daughter, still residing in Vienna, and the shadow that lurks there from Hitler and the Nazis. His character is portrayed in a positive light.

He's sensitive and charming, willing to listen to others. At the same time he displays a volatile temperament, especially as it concerns his family, and when he sees insensitivity in others. The relationship he has with Isherman is paternal as showcased in Prater Violet on page 23: "I am sure we shall be very happy together. You know, already, I feel absolutely no shame before you." (Isherwood 23)His relationship with Isherwood provides a critique in humanity and offers a look inside what exists naturally in the world during that time.

As Eagleton states in the chapter: "Structuralism and Semiotics," "the category of 'mood' can be subdivided into 'distance' and 'perspective'" (Eagleton 92) He explains distance relates to narration and its own materials through recounting the story or representing it, being told in direct or indirect speech. The same can be said of perspective in its ability to be subdivided and analyzed in various ways. On page 23 of Prater Violet Mr. Chatsworth helps Bergmann into his overcoat and the narration describes it as dressing up a roman statue.

Subsequently on the same page, Bergmann pauses, takes Chatworth's hand and smiles. Chatworth's perspective views Bergmann's smiles as full of charm and intimacy, removing the previous perceived thought of Bergmann as a statue. Lawrence Dwight, a career pragmatist and "film cutter" also provides veritable grounds for analysis. Dwight is proud of his work and sees it as essential to the "big picture"; seeing it in the literal sense as a film, but also as a wholistic philosophy. As seen with Isherwood, "The incentive is to fight anarchy.

That's all Man lives for. Reclaiming life from it natural muddle. Making patterns.' 'Patterns for what?' 'For the sake of patterns. To create meaning. What else is there?'"(Isherwood 66-70) To see the relation between language and human subjectivity in this manner agrees with structuralism in promoting a view that avoids 'humanist' fallacy. As Eagleton states: 'humanist' fallacy'- the naive notion that a literary text is just a kind of transcript of the living voice of.