MoonMonster196884
Active Member
- Joined
- Aug 21, 2021
- Messages
- 187
- Gender
- Male
- HSC
- 2024
Kim Cheng employs the extended metaphor of stamps to convey experiences in different countries. The ‘vanished republics’ are a continuation of the metaphor as each stamp encapsulates the all-encompassing view of the world furthered by cumulative listing of various countries: ‘CCCP, Yugoslavia.’ I similarly incorporate light as a metaphor for us to view hope as a foreseeable path to advance a country’s infrastructure. My piece portrays light as the be-all and end-all, as its absence signifies the degradation of infrastructure in south Chinese cities. Interestingly, Kim offers the perspective of outsiders on Australia to be congruous with the Australian nation in light of its worldview. I emphatically convey the vitriolic revenge Northern Chinese seek, in response to the outsiders’ (South Chinese) condemnation of the persona’s identity. The scope of this metaphor differs in both texts - in Stamp Collecting - the persona and outsiders co-exist within the realm of stamps, but I construct disparate tensions between the two groups. The nostalgic beginnings of stamps 'behind the filmy strips,’ ‘behind’ indicate time will unfold before the stamps necessitate a connection between personal memories and worldview. The conception of time is largely irregular, whereas my piece represents the discourse of time as fluid and all-pervading, a motif contrasting with metaphorical light, more specifically, lack thereof permeating South China. This juxtaposition of light and time implies the stamps are a world away from the conventional ‘assortments of items’ my narrator bears.
A stream of consciousness alludes to the modernist persona of the girl, who juxtaposes her emotive language with the father’s reflective tone. This is evident in "forgotten pressed flowers of a time when the world arrived," the metaphorical language creating vivid natural and emotional imagery. Kim Cheng personifies the world, for which the stamps collectively symbolize. In comparison, I incorporate an obsolete train ticket as a symbol for legacy, rather than one’s interpretation of the world, yet it is intricately linked with changing the character’s worldview. In particular, the father in Stamp Collecting reflects on the extent that the world has evolved, a microcosm of which encapsulates his childhood. The stamps convey the timelessness of personal memories that mold experiences to undergo temporal shifts from past to present. Kim Cheng employs analogies to ingrain past memories in the present moment, whereupon he shares the stamps, and thus, his inner world as it is analogous to. His reflective voice transforms into an emotive one, jubilant at the prospect of sharing stamps with his daughter - finding such joy in simplicity. I similarly craft my character to embrace the architecture of train stations, once embarking on a HSR train ‘channeling through what God created,’ in which I employ hyperbole to marvel at the multifaceted role of stations in connecting the entire ‘960 Rail Network.’ - pertaining to the metafictional perspectives inherent within my piece.
A stream of consciousness alludes to the modernist persona of the girl, who juxtaposes her emotive language with the father’s reflective tone. This is evident in "forgotten pressed flowers of a time when the world arrived," the metaphorical language creating vivid natural and emotional imagery. Kim Cheng personifies the world, for which the stamps collectively symbolize. In comparison, I incorporate an obsolete train ticket as a symbol for legacy, rather than one’s interpretation of the world, yet it is intricately linked with changing the character’s worldview. In particular, the father in Stamp Collecting reflects on the extent that the world has evolved, a microcosm of which encapsulates his childhood. The stamps convey the timelessness of personal memories that mold experiences to undergo temporal shifts from past to present. Kim Cheng employs analogies to ingrain past memories in the present moment, whereupon he shares the stamps, and thus, his inner world as it is analogous to. His reflective voice transforms into an emotive one, jubilant at the prospect of sharing stamps with his daughter - finding such joy in simplicity. I similarly craft my character to embrace the architecture of train stations, once embarking on a HSR train ‘channeling through what God created,’ in which I employ hyperbole to marvel at the multifaceted role of stations in connecting the entire ‘960 Rail Network.’ - pertaining to the metafictional perspectives inherent within my piece.