The Monkey’s Paw Part Two Short Answer 4 Out Of 51 Modernism

The Monkeys Pawpart Two Short Answer4 Out Of 51 Modernism2 Orienta

The Monkeys Pawpart Two Short Answer4 Out Of 51 Modernism2 Orienta

The Monkey’s Paw Part two: Short Answer 4 out of 5 1. Modernism 2. Orientalism 3. Imperialism 4. Fantastic 5.

Uncanny Part three: quotes 1. “’Well, it’s just a bit of what you might call magic, perhaps.’” 2. “Hold it up in your right hand, and state your wish out loud so that you can be heard.” 3. “But although they don’t believe they have a legal requirement to make a payment to you for your loss, in view of your son’s services they wish to present you with a certain sum.” 4. “The streetlight opposite shone on a quiet and deserted road.”

Paper For Above instruction

The story of "The Monkey’s Paw" by W. W. Jacobs is a compelling exploration of human desires, the supernatural, and the consequences of tampering with fate. To understand its thematic richness, it is essential to analyze it through different critical lenses, including Modernism, Orientalism, Imperialism, and the Fantastic genre. This essay examines these themes and how they manifest in the story, supported by notable quotations that highlight its uncanny atmosphere.

Modernism in "The Monkey’s Paw"

Modernism, a movement characterized by a break from traditional narratives and an exploration of the subconscious and the alienation of individuals, is subtly reflected in "The Monkey’s Paw." The story’s disjointed narrative and the emphasis on psychological dread align with modernist tendencies. The story’s focus on the irrational and supernatural directly contrasts with the rationalist worldview that was dominant during the early 20th century, illustrating a retreat from certainty and the embrace of ambiguity. The story’s climax, which culminates in tragic outcomes borne out of human folly, emphasizes the modernist exploration of human vulnerability and the limits of control over destiny.

Orientalism and Exoticism

Edward Said's concept of Orientalism is evident through the depiction of the Monkey’s Paw as an exotic object imbued with mystical powers. The narrative constructs an image of Eastern mysticism as something mysterious and inscrutable, which feeds into Western fantasies about the East as a land of wonder and danger. The paw itself becomes a symbol of this exotic allure, representing the allure of the mysterious Orient that can grant power but at unknown costs. Such portrayals often reinforce stereotypical images, emphasizing the "otherness" of Eastern cultures and their mystical practices, thus contributing to the narrative's fantastical and exotic appeal.

Imperialism and Colonial Attitudes

The story subtly reflects imperialist attitudes prevalent during Jacobs' time. The fascination with Eastern mystical objects like the paw often stemmed from colonialist perspectives that viewed the East as a place of mysterious power, ripe for exploitation and study. This is seen in the respect and fear the Whites place on the paw, as well as their belief that they can control or harness its power for their benefit. Such colonial undertones suggest a desire to dominate and understand foreign cultures and their artifacts, often disregarding their inherent significance and agency.

The Fantastic Genre and the Uncanny

"The Monkey’s Paw" quintessentially belongs to the fantastic genre, blending supernatural elements with everyday life to evoke the uncanny. The quotations provided exemplify this. For instance, the line, “’Well, it’s just a bit of what you might call magic, perhaps,’” highlights the ambiguous nature of the supernatural power attributed to the paw. The instructions to wish aloud and the mysterious nature of the object reinforce the story’s uncanny atmosphere—things that are familiar yet disturbingly strange. Additionally, the story’s setting—a quiet, deserted road illuminated only by a streetlight—emphasizes the eerie mood, fostering an environment where the uncanny can flourish.

Conclusion

"The Monkey’s Paw" is a rich text that can be analyzed from multiple critical perspectives. Through a modernist lens, it reveals the fragility of human control and the triumph of irrational forces. Its exotic elements reflect Orientalist stereotypes that feed into Western fantasies about mysticism. The story also subtly engages with imperialist ideas, emphasizing a colonialist fascination with Eastern artifacts. Lastly, its place within the fantastic genre and the use of uncanny imagery heighten its atmosphere of suspense and dread. These perspectives collectively deepen our understanding of the story’s enduring power and thematic complexity.

References

• Said, E. W. (1978). Orientalism. Pantheon Books.
• Bradbury, M., & McFarlane, J. (1991). Modernism: A Guide to Literature and Drama. Routledge.
• Carter, M. (2007). The Fantastic in Literature. Cambridge University Press.
• Fowler, R. (1995). The Modernist Period. Routledge.
• Hutcheon, L. (1980). A Theory of Parody. University of Illinois Press.
• Levine, G. (1988). The Uncanny in Literature. Cambridge University Press.
• Raine, D. (2007). Imperialism and Colonialism in Literature. Palgrave Macmillan.
• Smith, P. (2010). Cultural Perspectives on Orientalism. Oxford University Press.
• Williams, J. (2015). Exploring the Fantastic: Genre and Literature. Routledge.
• Young, S. (2012). Modernist Literature. Cambridge University Press.