- Chapter 4 of how to read literature like a professor chapter 12
- Chapter 4 of how to read literature like a professorat
- Chapter 4 of how to read literature like a professor chapter 1
From How to Read Literature Like a Professor Thomas C. Foster Notes by Marti Nelson 1. Every Trip is a Quest (except when it's not): a. A quester b. A place to go c. A stated reason to go there d. Challenges and trials e. The real reason to go—always self-knowledge 2. Nice to Eat With You: Acts of Communion a. Whenever people eat or drink together, it's communion b. Not usually religious c. An act of sharing and peace d. A failed meal carries negative connotations 3. Nice to Eat You: Acts of Vampires a. Literal Vampirism: Nasty old man, attractive but evil, violates a young woman, leaves his mark, takes her innocence b. Sexual implications—a trait of 19th century literature to address sex indirectly c. Symbolic Vampirism: selfishness, exploitation, refusal to respect the autonomy of other people, using people to get what we want, placing our desires, particularly ugly ones, above the needs of another. 4. If It's Square, It's a Sonnet 5. Now, Where Have I Seen Her Before? a. There is no such thing as a wholly original work of literature—stories grow out of other stories, poems out of other poems.
Chapter 4 of how to read literature like a professor chapter 12
The sheer amount of intertextual references in a given literary work can be overwhelming, particularly when they are alluded to in subtle, barely-noticeable ways. However, as Foster explains, it is rarely necessary to identify all of the intertextual layers at play. Even finding one intertextual reference can have a transformative impact on one's interpretation of a book. Contemporary writers in particular are known to deliberately play around with intertextuality, and the results can be difficult to untangle. Angela Carter's novel Wise Children (1992) portrays a family of Shakespearean actors whose lives imitate, parallel, and at times pervert narratives from Shakespeare 's plays. Carter anticipates the reader's reactions and expectations in order to subvert them and catch the reader by surprise. Crucially, Carter's tricks are effective regardless of whether or not the reader is a Shakespeare buff. Starting in the modernist period at the beginning of the 20th century, writers began consciously infusing their work with many complex intertextual references.
The literary critic Northrop Frye claimed that literature always grows out of other literature; in a similar vein, Foster emphasizes that "there is no such thing as a wholly original work literature. " To demonstrate this point, Foster cites Tim O'Brien's Going After Cacciato (1978), a novel about the Vietnam War which consists entirely of material borrowed from other sources. O'Brien uses multiple narrative frames to draw attention to this patchwork process of assembling a central story from many different fragments. "Borrowing" from other preexisting works has something of a bad image, especially among students who are strongly discouraged from plagiarism. Here Foster shows that—unlike plagiarizing academic work—there are productive ways of "borrowing, " and that it would actually be impossible to write a work of literature without doing so. At one point, a character in Going After Cacciato falls down a hole in the road, an episode Foster links to Lewis Carroll's Alice's Adventures in Wonderland (1865).
Chapter 4 of how to read literature like a professorat
b. There is only one story—of humanity and human nature, endlessly repeated c. "Intertexuality"—recognizing the connections between one story and another deepens our appreciation and experience, brings multiple layers of meaning to the text, which we may not be conscious of. The more consciously aware we are, the more alive the text becomes to us. d. If you don't recognize the correspondences, it's ok. If a story is no good, being based on Hamlet won't save it. 6. When in Doubt, It's from Shakespeare… a. Writers use what is common in a culture as a kind of shorthand. Shakespeare is pervasive, so he is frequently echoed. See plays as a pattern, either in plot or theme or both. Examples: i. Hamlet: heroic character, revenge, indecision, melancholy nature ii. Henry IV—a young man who must grow up to become king, take on his responsibilities iii. Othello—jealousy iv. Merchant of Venice—justice vs. mercy v. King Lear—aging parent, greedy children, a wise fool 7. …Or the Bible a. Before the mid 20th century, writers could count on people being very familiar with Biblical stories, a common touchstone a writer can tap b.
Chapter 4 of how to read literature like a professor chapter 1
- Seis sombreros para pensar pdf
- How to read literature like a professor
- How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines | Thomas C. Foster | digital library Bookfi
- How to read literature like a professor free audio
- Chapter 4 of how to read literature like a professor book
- How to read literature like a professor online book
What does it mean when a fictional hero takes a journey?. Shares a meal? Gets drenched in a sudden rain shower? Often, there is much more going on in a novel or poem than is readily visible on the surface -- a symbol, maybe, that remains elusive, or an unexpected twist on a character -- and there's that sneaking suspicion that the deeper meaning of a literary text keeps escaping you. In this practical and amusing guide to literature, Thomas C. Foster shows how easy and gratifying it is to unlock those hidden truths, and to discover a world where a road leads to a quest; a shared meal may signify a communion; and rain, whether cleansing or destructive, is never just rain. Ranging from major themes to literary models, narrative devices, and form, How to Read Literature Like a Professor is the perfect companion for making your reading experience more enriching, satisfying, and fun. EPUB | FB2 | MOBI | TXT | RTF
* Конвертация файла может нарушить форматирование оригинала. По-возможности скачивайте файл в оригинальном формате.