BENJAMIN BUTTON PDF
The Curious Case of Benjamin Button. Fitzgerald, Francis Scott. Published: Categorie(s): Fiction, Short Stories. Source: resourceone.info 1. “The Curious Case of Benjamin Button”. As all things do, it begins in the dark. EYES blink open. Blue eyes. The first thing they see is a WOMAN near The Curious Case of Benjamin Button. '1 can't say exactly who I am," the old man replied. '1 was only born a few hours ago. But I know my last name is Button.".
|Language:||English, Spanish, German|
|ePub File Size:||25.63 MB|
|PDF File Size:||12.36 MB|
|Distribution:||Free* [*Regsitration Required]|
1 Look at the words in italics at the top of the next page. Which of these sentences about Benjamin Button is correct, do you think? a He is an old man. b He is a. F. Scott Fitzgerald - The curious case of Benjamin resourceone.info - Download as PDF File .pdf), Text File .txt) or view presentation slides online. Download The Curious Case Of Benjamin Button free in PDF & EPUB format. Download F Scott Fitzgerald's The Curious Case Of Benjamin.
He hoped it would be a boy so that he could be sent to Yale College in Connecticut, at which institution Mr. Button himself had been known for four years by the somewhat obvious nickname of "Cuff. When he was approximately a hundred yards from the Maryland Private Hospital for Ladies and Gentlemen he saw Doctor Keene, the family physician, descending the front steps, rubbing his hands together with a washing movement—as all doctors are required to do by the unwritten ethics of their profession.
Button drew near. Button, as he came up in a gasping rush. How is she? A boy?
Who is it? What—" "Talk sense!
The Curious Case Of Benjamin Button
Doctor Keene frowned. One more would ruin me—ruin anybody. Button appalled. And get another doctor. I brought you into the world, young man, and I've been physician to your family for forty years, but I'm through with you! I don't want to see you or any of your relatives ever again! Button stood there upon the sidewalk, stupefied and trembling from head to foot.
To construct the satire of this story, Fitzgerald artistically exploits the trope of illusion, employing it on both modal and thematic levels.
Button, Hildegarde Moncrief, who becomes Benjamin's wife, and Benjamin all demonstrate a suspicious imperceptivity concerning Benjamin's abnormality, and it is their failure to acknowledge this glaring and marvelous fact through which Fitzgerald is able to highlight their obtuseness regarding the additional glaring, and extratextually rooted, issues of poor familial interaction as well as racism and slavery.
Button is completely preoccupied with his position in Baltimore society, a place he perceives Benjamin as jeopardizing, as we have seen. This explains why he proceeds to deceive others into believing that his son is just like other boys by disguising Benjamin: Button's social circle. In one absurd scene, Mr.
Button apparently believes that if he can convince others and himself that his son is ordinary, he can salvage his endangered social position. While Mr. The narrative thus uncovers the doubleness at work in Mr. Button, his simultaneous realization of Benjamin's oddity and refusal to acknowledge it.
Button's selfishly motivated desire to perceive his son as normal causes him never truly to see his son, the actual person in front of him, and thus to care for Benjamin in the way his son's odd yet actual age requires.
Besides the rattle incident, Mr. Button at first forces the elderly Benjamin to consume only milk. It is not until Benjamin is twenty and his father fifty, a point when their physical and mental maturity meet, that Mr. Button begins to treat his son as a peer, something which, due to their common biological ages, they actually are Yet even this period of compatibility is suspect, the narrative suggests, because of its involving Benjamin's ability at this age to advance Mr.
Button's company. Button exhorts his son: Button's selective vision regarding Benjamin's ontological aberrancy parallels indeed, explains his blindness to racism and slavery.
Button's mind: The slave market triggers a sudden thought in his mind: Severely emotionally distraught, Mr. Button hits the ultimate low point when he yearns for what would have been a preferable alternative, a black child. Here, Mr. Button's obtuseness regarding slavery and racism is exposed. But this response is all too expected now because of Mr.
Button's characterization which has been established through his interaction with Benjamin: Button as well as Hildegarde and Benjamin, as will be seen to the Southern aristocracy as a whole. Just as Mr.
The Curious Case of Benjamin Button
That these matters are only fleetingly referenced in the narrative does not reflect the degree of import they hold, for it is the issues of racism along with familial neglect, issues connected to the realist code of this magical realist tale, to which the magical phenomenon of Benjamin draws attention.
In this story, Mr. Braddock Washington maintains his riches through a slave population long after the Civil War has ended by lying to them one illusion that the South won the war. The young girl, surrounded by the party's men, is ironically attracted to Benjamin over the other boys.
Instead of viewing him as an outcast, she is specially drawn to him precisely because she mistakes him for a man of fifty, a point which supports Gery 's reading of the story as an American fable about the benefits of individualism.
At this moment, Benjamin allows Hildegarde to believe her assumption about his appearance. While they dance, Hildegarde's comments to Benjamin reveal that she finds his seeming maturity appealing because of how she imagines it will best serve her own interests.
Later, she adds: She sees what she wants to see. Though Hildegarde had formerly embraced the illusion of Benjamin's age because of what it offered her, she now begins to distance herself from him when his age works against her, ultimately moving to another country, and so is absent during the period in Benjamin's life when he needs her support the most—his childhood and infancy.
The narrative reveals, however, that Benjamin, like his father, is aware of his abnormality at some level. Benjamin's cosmetics, his blushing, and his conspicuous obstinacy about his age expose the doubleness which is also at work in his own mind, not only in Mr. Button's; he realizes there is something amiss, but refuses to come to terms with it.
Another example of this doubleness occurs after he returns home from the war and catches a glimpse of himself in the mirror. While the mirror is an object which often symbolizes the issues of appearance and illusion, in this narrative moment it offers Benjamin the truth, though he refuses to receive it. There was only one fly in the delicious ointment—he hated to appear in public with his wife.
It is she who is the cause of his feeling absurd, he wants to believe, so he disassociates himself from her as from something shameful. One of five primary characteristics Wendy B. In particular, they question the idea of progress and its desirableness. These narratives imply that Faris's characteristic could be rephrased to include this social aspect, indicating that magical realism disrupts notions of normativity in general.
In fact, Marcial moves from death to some point preceding infancy over the time span of one night. As he becomes younger, Marcial is, stage by stage, increasingly freed of the trappings of his society.
He arrives at a time preceding legal bindings, his conversion to Catholicism, and learning symbolized by written texts, until, finally, he returns to a primitive and instinctual connection with the world around him. Importantly, Marcial's decrease in time, age, and knowledge increases his wonderment at the world around him.
Marcial's regression proves to be the true progress, in contrast to the false notion of progress esteemed by his European aristocratic society embodied in wealth, religion, law, and learning which actually enslaves the older Marcial and disconnects him from a superior means of being in the world. However, an important distinction should be made between the two narratives based on the tone in which each concludes.
This contrast can be seen in a juxtaposition of Marcial's and Benjamin's final hours. Sus manos rozaban formas placenteras. El universo le entraba por todos los poros.
His hands brushed against pleasing forms. He was a totally sentient and tactile being. The universe entered him through all his pores. Then he closed his eyes which only perceived nebulous giants and penetrated into a warm, damp body full of shadows in which he died. The body, on feeling him wrapped in its own substance, slipped towards life.
This is a fundamentally optimistic rendering of the end, or beginning, of Marcial's human life. Benjamin's final moments at once parallel and sharply diverge from Marcial's. He did not remember. He did not remember clearly whether the milk was warm or cool. When he was hungry he cried—that was all.
This passage repeatedly references Benjamin's not remembering, a use of language which indicates the centrality of this element in Benjamin's final moments.
Unlike Marcial, Benjamin's return to his origins brings him oblivion, not enlightenment or sublime interconnectedness with the elements. It brings him the gift of sliding into death with a complete absence of memory and consciousness.
This is a final, crowning moment of irony and satire in Fitzgerald's narrative, for Benjamin's tabula rasa allows him to maintain to the end the illusive comfort on which he has based his entire life, the banishment of any thoughts that would force him to face the uncomfortable truth.
Fitzgerald's is cynical, while Carpentier's is optimistic. Carpentier's interpretation of Spengler is apparent in his lo real maravilloso , the concept he developed to argue for the distinct and essential marvelousness of Latin America which made it both other than and superior to Europe.
Ironically, in light of his appropriation of the German intellectual's ideas, Chanady notes: The impact of Spengler on Fitzgerald is evidenced by the reverberation of his concepts in the latter's later work: Both writers perceived that the West was headed towards degeneration, but Fitzgerald extended Spengler 's theories, applying them to the United States, as Lehan affirms: It is a world in which one must suppress reality and care inefficiently for one's family and fellow human beings in order to rise to the top.
Insofar as Benjamin himself represents the Southern aristocracy, furthermore, the narrative further suggests that social progress leads, in fact, to regression and a terrifying, forgetful oblivion. First, it integrates the narrative's most significant structural and modal characteristics: Crucial to an understanding of the narrative is its satire, the way it mocks the pursuit of status and pleasure by the upper class.
This satire is generated by the story's irony, the dissonance between what should be happening and what is happening.
Characters in this otherwise realistic narrative should be absolutely dismayed at Benjamin's ontology, yet they are not. Instead, they are worried about how Benjamin threatens their status and comfort. In contrast, if characters did recognize Benjamin's ontological aberrancy, the narrative would cease to be magical realist because the laws of rationality would then be emphasized, tipping the narrative over into the fantastic.
Furthermore, an adequate explanation of its structure should include reference to the way the supernatural unproblematically exists in a realist world.
The realist aspects are as crucial to magical realism as the supernatural are. Robert R. Hybridity is an important aspect of magical realism in that it preserves the distinctiveness of both codes in a singular locus without conflating them into one thing, or one kind of space, to extend Wilson 's point.
The benefit of this retained realist grounding becomes especially apparent when juxtaposed to Buell 's assessment of the narrative:. The fantasy takes shape, gradually or abruptly, by moving away from this environment or by transforming it into something bizarre.
While Buell 's comparative approach is valuable for identifying relationships and subgroupings among Fitzgerald's fantastical stories, individual analyses might prove equally valuable in their ability to yield new and rich insights about each story. Bidimensional stories, both magical realist and fantastic, bring the narrative closer to the reader than does a supernatural undimensional mode.
As Chanady suggests: This means that although they may present the reader with a fictional world in which certain or even many of the conventions of empirical reality are challenged perhaps irrevocably , they do so in a manner that prioritizes internal coherence and allows for the consolationist possibilities of narrative closure which keep fantasy on a safely distanced level.
Certainly, the bidimensional magical realist world is an aesthetic work which also requires interpretation, a jump over the gap of two meanings. Still, hermeneutic work functions differently here. Magical realism's historical references are typically direct, or, to borrow again from a geometrical lexicon, there is an intersection, an overlap, between fictional reference and extratextual reference though, of course this point of contact never means that the two merge into one.
While the fantastic shares with magical realism these bidimensional characteristics, its duality is after something else, the reinforcement of reason through its problematization.
Magical realism has been utilized to criticize limited accounts of history, hegemony of diverse manifestations, and exclusionary worldviews, among other issues. The controversy surrounding Rushdie 's The Satanic Verses points at least to the way its critiques, transmitted through magical realism, are clearly understood as referring to this world and its real issues. Still, stylistic taste and offense are different matters.
What might have been the cause of the offense other than its clear social satire? However, the term magical realism has been traced as far back as the late eighteenth century to the German romantic philosopher Novalis, before reappearing in in the writing of German art critic Franz Roh and in by Italian Massimo Bontempelli in his journal Novecento.
The Curious Case of Benjamin Button - PDF Preview
Subsequently, and in part due to the recognition of this particular capacity of the mode, magical realism later became affiliated with Third World writers in general, as evinced by Homi K. Bhabha 's exuberant proclamation in Nation and Narration Theory, History, Community , though, the internationalization of the mode became something broadly accepted.Eighteen years old, are you? Fitzgerald further grounds the story in realism by using precise details.
This was what he had wanted. Still, stylistic taste and offense are different matters. Still, hermeneutic work functions differently here.
Over her shoulders was thrown a Spanish mantilla of softest yellow, butterflied in black; her feet were glittering buttons at the hem of her bustled dress.