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Literary devices
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In the eighth chapter “Hanseldee and Greteldum” of Thomas C. Foster’s How to Read Literature Like a Professor, it is explained how writers incorporate literature targeted to kids due to the fact that they are widely known and recognized. Foster describes it as kiddie lit, and explains that the story “Hansel and Gretel” has more drawing power than any other. Foster’s observation proves to be true; he points out two examples that take from the story of the two lost children, but that neither work explicitly states that it is based upon Hansel and Gretel themselves. This is additionally apparent in the 1984 supernatural horror film Children of the Corn, which is an adaptation from Stephen King’s short story “Children of the Corn.” Burt and Vicky, a couple, are passing through Nebraska while …show more content…
Burt and Vicky stumble upon a service station where they ask an older man for help, but they are refused. The couple leave and eventually find a diner only to realize it was long ago abandoned. They set out yet again to find help, but encounter Sarah, a young girl hiding from two child cultists who have taken over the town. Vicky stays with Sarah while Burt goes into town looking for help but he has no luck. Vicky is then attacked by the cultist children and is taken to a clearing where she is raised onto a cross and prepared for sacrifice. Still looking for help, Burt enters a church and he is introduced to the idea of He Who Walks Behind the Rows, the children’s idea of an Abrahamic God that their cult is loyal to. After explaining the cult’s mission of sacrificing all adults, one of the children attack Burt. It is at this part that this film most depicts the story of “Hansel and Gretel.” Burt and Vicky set out, much like Hansel and Gretel themselves. But where Hansel and Gretel find a gingerbread house, Burt and Vicky find a murdered boy and a ghost town ran by children
How to Read Literature like a Professor by Thomas C Foster is a how to do book that teaches children how to become better readers. The novel was written in second person. The purpose of this novel is to inform readers on details that they wouldn’t usually realize in literature. Students who read Thomas C Foster’s How to Read Literature like a Professor are suppose to gain knowledge of how to identify details of their story that have connections to other literature or have alternative meanings that the author is trying to get across to the reader. Thomas C Foster believes reading his novel can help develop you into a better reader. He believes this because the information that he includes can apply to your reading. When you realize the connections he talks about, it gives you a better understanding of the book you are reading.
Religious education and children's literature have enjoyed a long parallel history. The earliest children's books were little more than religious devotionals or bible stories rewritten with the express enjoyment of children in mind. As children's literature progressed, however, it began to move away from religious instruction and into works that focused more on story. This doesn't mean that the two became mutually exclusive as to this day many works that are still enormously popular with children are rife with religious allegory without sacrificing story. Two such children's works are George MacDonald's The Princess and the Goblin and C. S. Lewis' The Lion, The Witch, and the Wardrobe. Both considered classics, they have been read for generations by children enthralled by their fantastical plots, yet a deeper look reveals that the works contain some very noticeable religious imagery that serves merely to enhance the work and never takes away from the enjoyment of the plot.
Andrews was a great story teller, she proved that when her novel “Flowers in the Attic” become a bestseller almost immediately. Not only was she great but she was thorough, and the story on the Dollanganger children continued into 3 more book. In an analysis written by an anonymous user on a forum called “Flowersintheattic2point0,” it’s said that the Dollanganger series should not be analyzed separately. Since V.C. Andrews was so invested in storytelling, the author of that analysis doesn’t believe that one book can truly tell the whole story (A Critical Analysis of V.C. Andrews ' Flowers in the Attic: It Is What It Is…But What Is It? (Part One)). When looking at it simply, everything about this story is problematic, from the actions of the characters to the romantic ties the author gave them. While it is an interesting story, and it does completely consume you when reading it, the problems are overwhelming and unsettling. The story of the Dollanganger children continues in the other 3 books of this series, so the problems and hardships for the children don’t just end with “Flowers in the
The presence of a bull prompts a shift in Grendel’s purpose in life from remaining obedient to his mother as a young child to being the creator of the world as he transitions into adulthood. As a young monster, Grendel motive’s coincide with his mother since she is the only person who Grendel is able to communicate with. He feels “Of all the creatures I knew, only my mother really looked at me...We were one thing, like the wall and the rock growing out from it… ‘Please, Mama!’ I sobbed as if heartbroken” (Gardner 17-19). His emotions demonstrate that as a child, he doesn’t consider himself as an individual but rather as embodying the same identity as his mother, which is further emphasized by the use of the simile. Additionally, Grendel’s use
Nilsen, Helge Normann. "Naturalism in Edith Wharton's Ethan Frome." Performances in American Literature and Culture: Essays in Honor of Professor Orm Øverland on His 60th Birthday. Ed. Vidar Pedersen and Eljka Svrljuga. Bergen, Norway: University of Bergen, 1995. 179-188. Rpt. in Children's Literature Review. Ed. Tom Burns. Vol. 136. Detroit: Gale, 2008. Literature Resource Center. Web. 14 Feb. 2014.
Over the summer, after taking a break from reading a novel just for entertainment, I sat down to read How to Read Literature like a Professor and it was the exact novel to refresh and supplement my dusty analysis skills. After reading and applying Foster’s novel, How to Read Literature like a Professor, towards The Bonesetter’s Daughter I found a previously elusive and individualized insight towards literature. Although, The Bonesetter’s Daughter is full of cryptic messages and a theme that is universal, I was able to implement an individual perspective on comprehending the novel’s universal literary devices, and coming upon the unique inference that Precious Auntie is the main protagonist of the novel.
Senick, Gerard J., and Hedblad, Alan. Children’s Literature Review: Excerpts from Reviews, and Commentary on Books for Children and Young People (Volumes 14, 34, 35). Detroit, Michigan: Gale Research, 1995..
Murry has written several reviews for books, films, and museums and has dreamed of creating her own children’s book. Over the years, Meg could not finish a book so she decided to take a course at Arbor Community College called: Fiction Writing for the Youth Market, How to Get Started, taught by Tess Whatsit. (R. 31). Whatsit taught at Arbor Community College from 2004 through 2015 and taught Meg Murry for eight weeks from the middle of January 2015 until the middle of March 2015. (R. 18). At the same time, Tess Whatsit had been an editor at Atheneum Books for Young Readers from about 1987 until 2015 when she opened her book packager, Watermark Books, a liaison between authors and publishers, in which she is founder and president. (R.
“It’s not just the books under fire now that worry me. It is the books that will never be written, the books that will never be read. And all due to the fear of censorship. As always, young readers will be the real losers” (Blume 1999). Judy Blume can not explain the problem of book censorship any clearer. The children are the real losers because they are the ones that are not able to read the classic works of literature which are the backbone of classroom discussions all across the United States.
Zipes, Jack. Fairy tales and the art of subversion the classical genre for children and the process
... (eds), Children’s Literature Classic Text and Contemporary Trends, Basingstoke, Palgrave Macmillan in association with Open University
Set in Poland during the German occupation, “The True Story of Hansel and Gretel” is told as a fairy tale, utilizing many of the elements that are common to fairy tales.
Shel Silverstein created several of what are arguably some of the best children’s literature collections in America. While several families lull their children to sleep each night to the whimsical tales strewn with intrinsic, philosophical thoughts throughout, these same parents might be shocked to learn of Silverstein’s subjectable reputation and selfish vigor for life. Twisted in the sheets of what’s rumored to be nearly a thousand lovers, Silverstein created imaginative masterpieces such as ‘The Giving Tree’, “Falling Up’, ‘Where the Sidewalk Ends’, ‘A Light in the Attic’, and even notable song lyrics such as ‘A Boy Named Sue’. While any renowned artist such as Silverstein leaves a trace of himself through his works, Shel’s work itself carries an all-too-utopic perspective compared to the artist himself, who suffered from unquenchable wanderlust and an extreme desire for sexual dominance. (Shields)
Children literature is a term that refers to the texts written for children. The artist uses creative ways to ensure that children are provided with educational books, touching on a variety of themes. This paper will include comparison of two characters from the two texts, “Hana's Suitcase: A True Story,” authored by Karen Levine and “Charlotte’s Web,” written by E.B. White, with the aim of understanding ways in which problems are solvable as indicated by selected characters.
Literature has been part of society since pen met paper. It has recorded history, retold fables, and entertained adults for centuries. Literature intended for children, however, is a recent development. Though children’s literature is young, the texts can be separated into two categories by age. The exact splitting point is debatable, but as technology revolutionized in the mid-twentieth century is the dividing point between classic and contemporary. Today’s children’s literature is extraordinarily different from the classics that it evolved from, but yet as classic was transformed into modern, the literature kept many common features.