A Quote by Northrop Frye

This story of loss and regaining of identity is, I think, the framework of all literature. — © Northrop Frye
This story of loss and regaining of identity is, I think, the framework of all literature.
When you go through hell, your own personal hell, and you have lost - loss of fame, loss of money, loss of career, loss of family, loss of love, loss of your own identity that I experienced in my own life - and you've been able to face the demons that have haunted you... I appreciate everything that I have.
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
Sometimes you must lose everything to gain it again, and the regaining is the sweeter for the pain of loss.
Hate crimes are different from other crimes. They strike at the heart of one's identity - they strike at our sense of self, our sense of belonging. The end result is loss - loss of trust, loss of dignity, and in the worst case, loss of life.
I think I started writing about identity, and I used to believe that identity is the story. But now I'm not so much subscribed to that. I mean, with 'Mr. Fox,' it has a feminist agenda as well. And so, as I sort of been away from writing about identity, I still feel that kind of tug of roots and, you know, cultural background.
The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.
I feel like elements of race and identity and ethnicity are sort of missing in all of literature, not just in women's literature.
I think of depression as the mechanism that pushes down the pain of that loss. It tries to distance us from the loss but it lowers our whole energy level. I think that's a pervasive way we end up responding to loss or the anticipation of loss. Natural but not necessary.
I look at western literature and especially North American literature, and I feel like it gets bogged down so much with all of that, with domestic stories and relationships and a woman dealing with the loss of her husband.
While being a parent has been the most fulfilling experience of my life, it comes with a price. Besides the onslaught of worries and fears that can be paralyzing, more personally there is a struggle with identity, or the fear of loss or usurpsion of identity, if that makes sense.
I think the difference between a lie and a story is that a story utilizes the trappings and appearance of truth for the interest of the listener as well as of the teller. A story has in it neither gain nor loss. But a lie is a device for profit or escape. I suppose if that definition is strictly held to, then a writer of stories is a liar - if he is financially fortunate.
'Blue Nights' is a story of loss: simple, wrenching, inconsolable loss.
All third world literature is about nation, that identity is the fundamental literary problem in the third world. The writer's identity is insecure because the nation's identity is not secure. The nation doesn't provide the third world writer with a secure identity, because the nation is colonized, it's oppressed, it's part of somebody else's empire.
I was working within a figurative representational framework, and there was a sense of reading the painting as a transparency, or truth, or autobiography, which I think is partially the burden of artists of color - or women, or anybody who is representing a so-called minority position. Are you actually telling a true story, or your own story? You don't just get to tell a story. The readings of the work didn't necessarily conform to my own understanding of mythology, where violence and eroticism and the body and all of these different forms coexist all the time.
My favorite literature to read is fairly dry history. I like the framework, and my imagination can do the rest.
It would be a sad story to get rid of religious belief, national identity, family, and even sexual identity. That's not freedom.
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