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William Gibson’s Neuromancer – Syntactic

Throughout William Gibson’s Neuromancer, the text shows many ways of using the syntactic rhetorical strategy. Within the text, many examples show a break in perception or explain quickly areas that span over a long period of time. For all of these reasons Gibson cleverly uses the syntactic approach to allow his readers the freedom to make their own assumptions and to illustrate his plot in this novel Neuromancer.

Whether it be changing the point of view from inside the Matrix to indicating Case catching up on some sleep, Gibson constantly uses this great rhetorical strategy to illustrate his many different scenes. On almost every page, the reader notices a break within two lines of the text, which usually signifies the use of syntactic approach. For example, he always uses the approach to signify when Case is jacking in and out or when he changes from viewing through his eyes to Molly’s or vice versa. “She turned, opened the door, and stepped out, her hand brushing the checkered grip or the holstered fletcher. Case flipped.” (Gibson, 180) Up unto this point in the scene,…

Othello’s Physical and Psychological Journeys

Othello’s Physical and Psychological Journeys

Othello is the tragedy, and, incidentally, the name of a Moor who serves as a general in the Italian military. He spends the first act of Shakespeare’s play in Venice, but is ordered shortly to Cyprus to fight the Turkish invasion. His journey isn’t officially noticeable at all in the play. One moment he’s defending himself in the Senate of Venice, the next he’s in Cyprus, taking credit for being victorious in a battle the storms fought for him against the Turks. The story unravels from there. His soon-to-be-lieutenant, Iago, whispers in his ear about his wife, Desdemona, and the unforgivable crime of adultery, throwing Othello’s orderly world to the winds of fate.

……Still, if the starting point and destination of Othello’s initial journey were to be compared to Othello’s psychological journey throughout the play (and, more importantly, the development of his relationship with the villain, Iago), they are found to be startlingly similar. Whether Shakespeare intended the parallel or not, and there isn’t really any sure way to tell, the coincidence is great.

……Venice, where the story starts, is a place of order, rich and wonderful. Likewise, Othello’s relationship with Iago is shown by the third scene of Act One to be, on the surface, based on honesty, respect, and admiration. He says, as he prepares to lead the ships to war: “honest Iago, my Desdemona must I leave to thee.” (1.3.336) While it may seem naïve for Othello to do such a thing when trouble is obviously brewing and the sense of foreshadowing is nearly tangible, the reader must keep in mind that Venice is an orderly, respected city and the General’s relationship with Iago can be summed up neatly in one sentence spoken by Brabantio:

……“This is Venice. My house is not a grange.” (1.1.119)

……But while Venice is certainly not a grange, there is plenty going on behind the scenes. One could even argue that Iago’s first scene when he incites Desdemona’s father to go and take revenge on Othello by using racist and bestial slurs is very similar to the first talks of war in the Senate and the general being told he must leave his homeland to defend Cyprus from the Turks.

……“An old black ram is tupping your white ewe,” (1.1.98) Iago shouts to Brabantio, at the same moment that Othello is being informed of his new assignment.

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