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How to read literature like a professor analysis
How to read literature like a professor
How to read literature like a professor analysis
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People read literature an abundance of times, but yet many don’t actually undergo the appreciation of the novel. Some overlook pieces of the novel and consider it insignificant to the whole story because those readers are inexperienced. The book, How to Read Literature like a Professor by Thomas C. Foster, allows readers and students to fully comprehend the meaning behind the book, making them assured to read “like a professor”. Letting the reader to go further in depth surely helps their analytical thinking to flourish. Having no boundaries when analyzing, Foster sure provided plenty of creative imagination discussing about archetypes and how we should consider the character’s perspective. Foster discusses about characters who are blind, such
Foster, Thomas C. How to Read Literature like a Professor: a Lively and Entertaining Guide to
For that, Welty needs exemplification. When coupled with the diction, exemplification serves as the main device implemented merging her experiences into a essay the explains the her relationship with fiction, and reading as a whole. Welty is a storyteller and she uses her skill to craft the narrative that describe her relationship with fiction. She describes the near mythological terror of the minotaur of the librarian, Ms. Jackson, who guarded the labyrinthian library of her hometown. She reminisces over the titles countless books she inhaled, two by two, as she rushed, back and forth, day after day, to the library for more. She speaks of her mother, who shared that same joy of reading, and who also enabled her to get her first library card. She illustrates about how books were ever present in her house. It’s through this exemplification and description that Welty is able to justify to the reader why books had such an intense role in her life, and why reading has held such value to her. Books were everywhere, they permeated her childhood. The effect of her vivid descriptions are that the reader and the author's perspective are merged. Rather than reading than reading the text, the reader experience’s it, and it's through the shared viewpoint that reader is able to realize the intensity and value reading brought to Welty’s
A work of literature can mean many things to each new reader who journeys into it. Details derived from the text can incite diverse reactions from readers based on their own understanding, age, gender, and experience relating to the piece. This holds true for John Updike's short story "A & P" when looked at through the eyes of myself, my mother, and my sister.
Analyzing “How to Read Literature like a Professor” is easy, but on the other hand, to analyze “The Bonesetter’s Daughter” is a consuming task. The difficulty doesn’t lie in the grammar or the structure, but in employing the skills employed by Foster’s book. An unskilled reader would assume that Amy Tan’s novel: The Bonesetter’s Daughter, is just another novel written for entertainment purposes. To an untrained reader, there seems to be no author’s intent to use literary devices that would contextualize the deeper meaning that is usually found in fiction, mythology, and folklore. Instead the novel would seem nothing more than entertainment, but for a reader that isn’t just reading but also searching through the text for the literary devices
When reading we often harness particular threads of thought or lenses of critique to gain entry into the implied historic or legendary nature of literature. To accurately process a tale in the light in which it is presented, one must consider the text from multiple viewpoints. Taking into consideration the psychological circumstances of the presenter/author/narrator, we can get a view into how our personal experiences can create bias in interpretation. By placing the elements of the story into the web of relationships used to interpret the external world, we bring a view of the text from the external perspective. All of these factors are at play in the relations between the perspective within a text, creating a form of reality with its own historic and mythic properties. Characters have their own histories and structures, expressed or not, and their perception in the fictional world they reside exerts influence outward to the reader of literature. This influence can create a sense of immersive reality that renders the reading experience to be mythic truth, based in facts but not emotion or direct perception, a somewhat distanced portrayal of events. However it can also be an expression of perceptive truth, events are experienced much they would be in real life – confusing and disjointed. To look into these problems of perspective, I will use examples from “The Red Convertible” by Lois Erdrich to demonstrate how Lyman’s narration style is representative of psychoanalytic concepts, showing how he deals with the situations presented in his life.
A university is a place where students are taught to build upon the basic academic skills acquired in their previous schooling, and to learn to create original ideas. This ability to create original ideas gives students the chance to rise above any preconceived notions of the masses, instead of conforming to them. For example, in the subject of literature, students can find individuality in being able to, critically, analyze a literary work in contrast to most people who can only retell it as a story. Through such critical analysis, students can discover many original ideas that may help bring literature to life. In his prize-winning novel, The Magnificent Ambersons, Booth Tarkington presents a masterpiece of literary work, full of features which can be used in a university setting to teach students literary criticism such as characterization, irony, and theme.
As one of the most renowned and well-known literary critics in the world of composition, Harold Bloom has self-importantly granted himself the privilege of specifying the reasons as to why we read. From human connection to self-actualization to the acquirement of knowledge, he adheres passionately and unquestionably that “the strongest, most authentic motive for deep reading…is the search for a difficult pleasure.” Bloom, as an experienced critic, fully recognizes the task of judging a book for its merit.
First impressions are important when meeting new people, applying for jobs, and even when reading literature. It provides us with an idea of what is going on, where things are taking place, and who the important characters are. This first impression can be described is the Pre-Critical Response; the average reader performs this type of analysis every time he or she reads. For some people, this simplistic perspective is satisfactory; others find the quest for deeper understanding intriguing and part of the ultimate experience gained through literature.
generates a complementary model of reading. Once the author becomes a suspicious figure, then the reader’s role needs to alter in response. The reader is invited, required, to become a kind of detective-figure, trying to make sense of the inconsistencies, gaps, and contradictions in the narrative (123).
Words, in containing inherent personal connotations, are undoubtedly a subjective field. When combined into an intricate sequence, such as a book, there is infinite possibility in meaning. For instance, in Kate Chopin’s novella, “The Awakening,” the main character Edna Pontellier acts in opposition to social norms to eventually meet her death. However, this sequence of events can be read in numerous different ways, such as a tale of liberation from the confines of society or a cautionary tale about false identities. Such massive separation in understanding depends on how the reader interprets the course of events, in particular the diction and characterization, which in turn serves
Behind each movie lies the meaningful aspects and significant details worth noticing. All movies and books can be carefully examined and interpreted. Thomas C. Foster’s How to Read Literature Like a Professor provides a new view on interpreting literature. In the novel, Foster identifies and analyzes common patterns, themes, and motifs found in literature, many of which are also present in Disney’s new film, Maleficent. This movie showcases several of his techniques, including quests, flight, geography, and symbolism. These are only a few characteristics that shape the movie into an enjoyable and thought-provoking experience for the audience.
Essentially, should the reader take an active or passive role in attempting to understand, synthesize, and apply works of literature to his or her own disposition? Therein lies the predicament.
Literature takes a single sentence and turns it into a powerful story with sorrow, humor, and mystery. Combined with literary elements, the reader experiences the power of extreme emotions and is taken past the boundaries of reality. In reading, a reader takes on the role of a character through characterization. They experience problems they would not usually encounter and the complications people endure to overcome obstacles. Charles Dickens proves how strong a golden thread is and the lengths by which a man will go to restore it through the light bringing character of Lucie Manette in A Tale of Two Cities.
Reading a book requires the reader to piece and assemble the parts together, by analyzing the characters in the story,so the reader can envision the whole authors form of art. The author Khaled Hosseini writes about Amir being a privileged kid and getting everything he wants at no cost. Amir is described as a young boy who has an education and everything is provided to him in order to succeed but does not have an relationship with his father, although, he wishes he did.Amir’s father is a very wealthy businessman who is very successful,although Amir at times does feel neglected from his father because he spends alot of time working and helping others. At times Amir feels that his father blames him for his mother’s deaths and believes that
Critic Roland Barthes has said, “Literature is the question minus the answer.” Choose a novel, or play, and, considering Barthes’ observation, write an essay in which you analyze a central question the work raises and the extent to which it offers answers. Explain how the author’s treatment of this question affects your understanding of the work as a whole. Avoid mere plot summary.