The act whereby the narrator describes his inheritance of hatred characteristics from his grandfather is evidence to show that he is subject to the theory of formalism. The narrator presents the passage that he decided to hate people after witnessing the mistreatments that the white police officers unleashed to their black victims. The extent at which the author describes his grandfather’s attitudes towards the lineage challenges a reader to understand that the narrator was stereotypical to the extent that he was unable to control his emotional drive to unleash hatred to distinct groups of people (Smith 14). The narrator’s perspective that his hate for the white people emanates from the emotional drive he acquired after witnessing torturous practices is subject to formalism, a theory that describes events to the extent of believing that subjects or similar situations will evoke similar results.
The second act in the play is the monologue, Territory, whereby a former president of the Los Angeles Police Commission accuses the public of abusing the constitutional rights of police officers in an interview conducted at his home. On the other hand, different groups of citizens are interviewed in relation to the matter (p. 16). Their views evoke the understanding that the police officers in the state are using racial tactics in unleashing terror upon their victims. The African American interviewees in the study criticize the police officers and similar views are presented by the other citizens from the minority races. The critical evaluation conducted in the play’s monologue implements the use the critical theory.
“It was about the influence Ruffian from Malaga, a man that had killed his mistress after she had consecrated herself publicly that…. I have made my heroine a Gypsy” is a passage from the novel, Carmen that describes a personal perspective (OLeary 17). According to the deconstruction approach, the author’s influence after witnessing the inhuman practices that a Spanish woman underwent after assuming herself a holy being in the public are related to the individual need for freedom through democracy. The deconstruction approach in the passage is evident as the author tries to provoke negative critics to people’s decisions through the emphasis that he would create a Gypsy upon realizing his heroine. The passage presents the theory of deconstruction through the authors’ literary practices.
The author uses feminism by adhering to the Spanish social practices as seen in the passage whereby he describes Carmen as a treacherous woman whose determination to earn her fortune enables him to lure Merimee to her house, where she steals his watch. Carmen being a Spanish woman realizes that male chauvinism threatens women’s recognition of their rights; hence, she decides to lure and steal from her victims in the Spanish society (p.17). The practices of Carmen amount to criminal acts, but her determination to retaliate to men’s stereotypical views that women are weak beings propels the narrator’s need to provoke a different understanding. In that case, feminism is present in Carmen’s determination and also to the extent that she uses another man to escort his fellow man out of her house after she accomplishes her mission.
Cloud Nine play
The first act of the play recites about the Victorian era. Viewers can establish that the characters in the play criticize the Victorian era and colonialism practices. It is evident that the British society under the monarchy was determined to express its authority to weaker subjects within and outside its territorial boundaries with the use of war and other ideologies (p. 42). The use of critical study, an entry that implements the critical theory practice enables the play’s characters to use satirical practices in addressing the issues that the British’ subjects endured during the era. The result of the play also enables viewers to discredit the prevalence of similar practices as such would attribute to the limitation of people’s freedoms against their will.
Formalism as an attribute is present in the second act of the play, which revolves around the issues that would prevail after the British colonialists reconsider and withdraw their African colonial missions. With the use of satirical and comic practices, the play depicts the atrocities that the British colonialists unleashed to the subjects, and the subsequent behavioural characteristics seen within the colonized groups. For example, the play’s use of formalism enables the characters to express the obscene languages used by the former British colonies’ subjects; thus, viewers are capable of learning the importance of respecting people’s cultural practices, lifestyles, and views in order to protect their rights. The literary application of formalism enables the play to embrace satirical practices that provoke the knowledge and understanding that the British committed offenses, which included sexual abuse.
OLeary, Catherine. Companion to Carmen Martín Gaité. S.l.: Tamesis, 2014. Print.
Smith, Anna D. Twilight–Los Angeles, 1992 on the Road: A Search for American Character. New York: Anchor Books, 1994. Print.