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Literary Analysis Of Annes View Of Human Nature

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Understanding Human Nature with Steven Pinker - Conversations with History

Anne never lets go of her belief in the resilience and strength of the human spirit. In addition, Anne had an older sister, Margot that was 3 years older than her. Anne was just 13 years old when. There were two different families in the annex and two people who worked in the warehouse who helped the families get their supplies. Frank and his family needed help getting into Amsterdam from Germany. Van Dann, a man who had already lived in Amsterdam, helped Mr.

Frank to get a warehouse in Amsterdam. From the minute Mr. Frank got to his new home he was preparing the annex for his family. Frank knew he needed to repay Mr. Van Daan for what he had done for him, so he invited the Van Danns to stay with them in hiding. Frank was a loyal man who even when the Van Daans were ungrateful for what Mr. Frank had done for them Mr. Frank never wanted them to leave. Frank always stood by his families side even if he knew that they were wrong. When Mrs. Frank went off on everyone towards the end of the play Mr. Frank told her she was going a little crazy, but he did not take anyones side and still stood with his wife.

During the arguments between Anne and Mrs. Frank, Mr. Frank never chose sides, but tried to calm both of them and have them make up. When Anne had a nightmare and Anne wanted her father and not her mother, he tried to tell Anne that she needs to be able to talk to her mother and Mr. Frank tries to comfort Mrs. Frank shows his leadership throughout the play by taking charge and staying calm throughout everything.

He never once doubted himself or the. Get Access. Read More. Anne Frank : A Positive Attitude Words 9 Pages nne Frank shows us that a positive attitude can help to persevere the hardships of life because there is reason to. Popular Essays. I kept pausing to marvel at the fact that one of the greatest books about the Nazi genocide should have been written by a girl between the ages of thirteen and fifteen — not a demographic we commonly associate with literary genius. How astonishing that a teenager could have written so intelligently and so movingly about a subject that continues to overwhelm the adult imagination. What makes it even more impressive is that this deceptively unassuming book focuses on a particular moment and on specific people, and at the same time speaks, in ways that seem timeless and universal, about adolescence and family life.

It tells the truth about certain human beings' ineradicable desire to exterminate the largest possible number of other human beings, even as it celebrates the will to survive and the determination to maintain one's decency and dignity under the most dehumanizing circumstances. Anne Frank thought of herself not merely as a girl who happened to be keeping a diary, but as a writer. According to Hanneli Goslar, a childhood friend, Anne's passion for writing began when she was still in school. Everybody would ask her, 'What are you writing? I want to go on living even after my death! And therefore I am grateful to God for giving me this gift, this possibility of developing myself and of writing, of expressing all that is in me!

Much has been made of how differently we see Anne Frank after the so-called Definitive Edition of her diary, published in , restored certain passages that Otto Frank had cut from the version that appeared in Holland in and in the United States in In fact, though the Definitive Edition is almost a third longer than the first published version of The Diary of a Young Girl, the sections that were reinstated — barbed comments about Edith Frank and the Van Pelses, and other entries revealing the extent of Anne's curiosity about sexuality and about her body — don't substantially change our perception of her. On the other hand, there is a scene in Miep Gies's memoir, Anne Frank Remembered, that actually does alter our image of Anne. Along with the other helpers, the employees of Opekta, Otto Frank's spice and pectin business, Miep risked her life to keep eight Jews alive for two years and a month, an experience she describes in a book that sharpens and enhances our sense of what the hidden Jews and their Dutch rescuers endured.

The scene begins when Miep accidentally interrupts Anne while she is at work on her diary. In his essay, "The Development of Anne Frank," John Berryman asked "whether Anne Frank has had any serious readers, for I find no indication in anything written about her that anyone has taken her with real seriousness. A small number of critics and historians have called attention to Anne's precocious literary talent. In her introduction to the British edition of The Tales from the House Behind, a collection of Anne's fiction and her autobiographical compositions, the British author G.

Stern wrote, "One thing is certain, that Anne was a writer in embryo. The fact remains that Anne Frank has only rarely been given her due as a writer. With few exceptions, her diary has still never been taken seriously as literature, perhaps because it is a diary, or, more likely, because its author was a girl. Her book has been discussed as eyewitness testimony, as a war document, as a Holocaust narrative or not, as a book written during the time of war that is only tangentially about the war, and as a springboard for conversations about racism and intolerance. But it has hardly ever been viewed as a work of art. Harold Bloom tells us why: "A child's diary, even when she was so natural a writer, rarely could sustain literary criticism.

Since this diary is emblematic of hundreds of thousands of murdered children, criticism is irrelevant. I myself have no qualifications except as a literary critic. The Dutch novelist Harry Mulisch attributed the diary's popularity to the fact that its young author died soon after writing it: "The work by this child is not simply not a work of art, but in a certain sense it is a work of art made by life itself: it is a found object. It was after all literally found among the debris on the floor after the eight characters departed. Still, many diaries of Jews who perished have been published that reflect a complexity of adult perspective and, in some instances, of a direct grappling with the barbarity of Nazism; and these are absent from Anne Frank's writing.

Anne may have been a bright and admirably introspective girl, but there is not much in her diary that is emotionally demanding, and her reflections on the world have the quality of banality that one would expect from a year-old. What makes the Diary moving is the shadow cast back over it by the notice of the death at the end. Try to imagine as Philip Roth did, for other reasons, in The Ghost Writer an Anne Frank who survived Bergen-Belsen, and, let us say, settled in Cleveland, became a journalist, married and had two children.

Would anyone care about her wartime diary except as an account of the material circumstances of hiding out from the Nazis in Amsterdam? At once admiring of Anne's gifts and troubled by a sense of how they have been underestimated, I began to think it might be interesting and perhaps useful for students newly introduced to Anne's diary and for readers who have grown accustomed to seeing it in a certain light to consider her work from a more literary perspective. What aspects of the book have helped to ensure its long and influential afterlife? Why has Anne Frank become such an iconic figure for so many readers, in so many countries? What is it about her voice that continues to engage and move her audience? How have the various interpretations and versions of her diary — the Broadway play, the Hollywood film, the schoolroom lessons, the newspaper articles that keep her in the public eye — influenced our idea of who she was and what she wrote?

The book I imagined would address those questions, mostly through a close reading of the diary. Such a book would explore the ways in which Anne's diary found an enduring place in the culture and consciousness of the world. I would argue for Anne Frank's talent as a writer. Regardless of her age and her gender, she managed to create something that transcended what she herself called "the unbosomings of a thirteen-year-old" and that should be awarded its place among the great memoirs and spiritual confessions, as well as among the most significant records of the era in which she lived.

That was the simple little book I envisioned. But little about the diary would turn out to be so simple. I had always believed Anne Frank's diary to be a printed version lightly edited by her father of the book with the checked cloth cover that she received on her thirteenth birthday in June , and that she began to write in shortly before she and her family went into hiding. That was what I had assumed, especially after I, like the rest of Anne's early readers, had been reassured by the brief epilogue to early editions of her book, in which we were informed that "apart from a very few passages, which are of little interest to the reader, the original text has been printed.

I knew there had been controversies about the missing pages Otto Frank had omitted in the process of shaping the diary. More recently, I recalled, more withheld pages had surfaced, passages in which Anne speculated about the disappointments in her parents' marriage. But I had thought that these questions had been answered, and most of the cuts restored, in the publication of the Definitive Edition, edited by Mirjam Pressler.

In fact, as I soon learned, Anne had filled the famous checked diary by the end of ; the entries in the red, gray, and tan cloth-covered book span the period from June 12, , until December 5 of that year. Then a year — that is, a year of original, unrevised diary entries — is missing. The diary resumes in an exercise book with a black cover, which the Dutch helpers brought her.

Begun on December 22, , this continuation of the diary runs until April 17, A third exercise book begins on April 17, ; the final entry was written three days before its writer's arrest on August 4. Starting in the spring of , Anne went back and rewrote her diary from the beginning. These revisions would cover loose sheets of colored paper and fill in the one-year gap between the checked diary and the first black exercise book.

She continued to update the diary even as she rewrote the earlier pages. Anne had wanted her book to be noticed, to be read, and she spent her last months of relative freedom desperately attempting to make sure that her wish might some day be granted. On March 29, , the residents of the secret annex gathered around their contraband radio to listen to a broadcast of Dutch news from London. In the course of the program, Gerrit Bolkestein, the minister of education, art, and science in the exiled Dutch government, called for the establishment of a national archive to house the "ordinary documents" — diaries, letters, sermons, and so forth — written by Dutch citizens during the war.

Such papers, the minister said, would help future generations understand what the people of Holland had suffered and overcome. As they listened, the eight Jews in the annex focused on the young diarist in their midst. Anne's diary was a fact of communal life, like the potatoes they ate, the bathing arrangements they worked out, the alarming break-ins downstairs, and it inspired curiosity and consternation in the people she was writing about.

As early as September , Anne describes snapping her little book shut when Mrs. Van Pels comes into the room and asks to see the diary, in which Anne has just been writing about her, unflatteringly. A month later, during a moment of closeness — Margot and Anne have gotten into the same bed — Margot asks if she can read Anne's diary, and Anne replies, "Yes — at least bits of it. For most of her stay in the annex, Anne's diary had been her friend and her consolation. She wrote it for companionship, for the pleasure of writing, for a way to help fill the long hours during which she and the others were required to keep silent and nearly motionless while business was being transacted in the Opekta office downstairs.

She wrote to help make sense of herself and the people around her. But now, at this hopeful juncture, when it had begun to seem that the war might end and that people might want to read about the lives of its victims and its survivors, the attic residents agreed that Anne's diary was exactly the sort of thing the exiled Dutch minister meant. Anne took his speech as a personal directive. By the morning after the broadcast, she was envisioning a bright career for her book, a future more glamorous than what Minister Bolkestein proposed: posterity in the archive that would become the Netherlands Institute for War Documentation.

But, seriously, it would be quite funny ten years after the war if we Jews were to tell how we lived and what we ate and talked about here. Many old Dutch houses had annexes of this sort, a maze of extra rooms added onto the back of the house, meant to extend the cramped space dictated by the structure's narrow facade. A few days later, Anne lay on the floor and sobbed until the idea of herself as a writer lifted her out of despair. I know that I can write, a couple of my stories are good, my descriptions of the 'Secret Annex 'are humorous, there's a lot in my diary that speaks, butwhether I have real talent remains to be seen.

On April 14, she had serious misgivings about her abilities. Even so, she was imagining the Dutch ministers as her potential audience, and her critics: "Everything here is so mixed up, nothing's connected any more, and sometimes I very much doubt whether anyone in the future will be interested in all my tosh. Bolkestein or Gerbrandy. In May she again wrote that she wished to become a journalist and a famous author — only now she had a sense of the book that might make her reputation. In any case, I want to publish a book called Het Achterhuis after the war. Whether I shall succeed or not, I cannot say, but my diary will be a great help. The most important result of this new sense of vocation was that Anne began to refine and polish her diary into a form that she hoped might someday appear as Het Achterhuis.

On May 20, she wrote, in a passage her father deleted, "At long last after a great deal of reflection I have started my 'Achterhuis,' in my head it is as good as finished, although it won't go as quickly as that really, if it ever comes off at all. In The Ghost Writer, Roth's hero, Nathan Zuckerman, remarks that the diary's dramatic scenes seemed to have gone through a dozen drafts. The truth is that many of them did go through at least two. Returning to the earliest pages, Anne cut, clarified, expanded her original entries, and added new ones which in some cases she predated, sometimes by years. Thus the book is not, strictly speaking, what we think of as a diary — a journal in which events are recorded as they occur, day by day — but rather a memoir in the form of diary entries.

The translator of the Definitive Edition, Mirjam Pressler, has written one of the the few books that acknowledges the importance of Anne's revisions. Published in English as Anne Frank: A Hidden Life, and, oddly, targeted at a young-adult readership, Pressler's book mixes biographical information, a meditation about Anne and the others in the annex, and illuminating comparisons between the original diary and the version Anne rewrote.

The main part of the book consists of the second version of Anne's original diary, revised with additions by Anne herself, with some stories from the account book in which she also wrote. Judith Thurman got it right, as few have, when she questioned even calling the book, as Anne's American publishers did, The Diary of a Young Girl. It takes the full measure of a complex, evolving character. It has the shape and drama of literature.

It was scrupulously revised by its author, who intended it to be read. It is certainly not a piece of 'found art,' as one Dutch critic has suggested. Though Anne Frank imagined Het Achterhuis as a novel in the form of a journal, it has come down to us as a diary. In The Ghost Writer, Philip Roth — who, as a fellow novelist, would be naturally sensitive to a writer's prerogative to call her book what she wants — refers to Anne's book only as Het Achterhuis, and to the Broadway play by its name, The Diary of Anne Frank. Despite Anne's initial misgivings, the revision of Het Achterhuis went very quickly.

Correlating the penmanship of the loose sheets against that of the notebooks, the forensic handwriting analysts later employed by the Netherlands Institute for War Documentation concluded that "if we take May 20, , as the starting date on the basis of the comment in part 3 and August 1, , as the date of the last entry, then the average daily entry would run to from 4 to 5 pages a day. These must have been written in addition to the entries in the diary, part 3. It appears that the writer worked more intensely on the loose sheets, particularly in the period between July 15 and August 1, During that period, pages were completed, or about 11 pages a day.

Working at this astonishing rate, Anne rewrote her early draft in the weeks before her arrest, making major and minor changes. Like any memoirist fearing hurt feelings, or accusations of misrepresentation, she made a list of pseudonyms for the Jews and their helpers. Perhaps for fluency, she continued to use the real names when she wrote her second draft. I know myself what is and what is not well written. Anyone who doesn't write doesn't know how wonderful it is. After the war, when Otto Frank read over his daughter's work and became convinced that she'd meant it to be published, he prepared a version of the book that combined passages from Anne's first draft and from her revisions, in some cases using earlier versions of passages that she had subsequently revised.

All in all, Otto Frank did an admirable job of editing — omitting needless details, choosing between alternate versions of events, preserving the essence of the diary, and intuiting what would make the book more appealing to readers. In many cases, that meant reversing Anne's decisions about what she wanted omitted — for example, the intensely emotional entries from the start of her romance with Peter van Pels, with whom she had become disenchanted during the time she was rewriting her diary.

The cooling of the love affair and Anne's focus on the revisions may not be entirely unrelated. Once she had stopped thinking semiobsessively about the boy upstairs, Anne had more time and energy to devote to her writing. She would not have been the first artist to discover that the end of a romance can inspire a return to work with new energy and sharpened concentration.

Stabler, Jane. During that period, pages were Literary Analysis Of Annes View Of Human Nature, or about 11 pages Literary Analysis Of Annes View Of Human Nature day. In The Ghost Writer, Advantages and disadvantages of floating exchange rate hero, Literary Analysis Of Annes View Of Human Nature Zuckerman, remarks that the diary's dramatic scenes seemed to have gone through a dozen drafts.