Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Sartre's philosophy
“Reading With Imagination” by Lily Tuck: Reaction In this piece, Tuck presents many ideas about the way literary works are written in order to convey her message: that readers must utilize abstract thought in order to effectively grasp various elements of fiction. Tuck establishes the concept of codependency between the reader and the author early on in the piece by quoting the 20th century philosopher, Jean-Paul Sartre, but it is her declaration that, “fiction is a creative act, an act of the author’s imagination and likewise, ideally, it should be read with the same imagination”, which solidifies her stance that literature is not meant to be read in the same monotonous and prescribed way we read habitually, but rather it is our responsibility
The fear of reading literature and not being able to comprehend the ideas presented forces readers to create a deeper meaning through annotations, as expressed through Billy Collins’ use of comparative imagery and aggressive diction in “Marginalia” and “Introduction to Poetry.” Collins’ choice to
In the Time of the Butterflies is a historical fiction novel by Julia Alvarez based on events that occurred during the rule of Trujillo in the Dominican Republic. This book shows the hardships the Mirabal Sisters had to go through while being part of an underground effort to overthrow the dictatorship of Trujillo. It also shows that ultimately, it was their courage that brought upon their own death. Alvarez wants us to understand anyone and everyone has the potential to be courageous.
Ann Rinaldi has written many books for young teenagers, she is an Award winning author who writes stories of American history and makes them become real to the readers. She has written many other books such as A Break with Charity, A Ride into Morning, and Cast two Shadows, etc. She was born in New York City on August 27, 1934. In 1979, at the age of 45, she finished her first book.
In Chapter 2 of Children’s Books in Children’s Hands: A Brief Introduction to their Literature, the authors talk about the 12 main elements of a literary work: genre, plot, setting, characterization, theme, point of view, intersexuality, tone, mood, style, voice, and the stance of the implied reader (Temple, Martinez, and Yokota 24). All of these literary elements capture the reader’s imagination and creates a successful piece of literature. However, the authors stress the importance of genre in Chapter 2, so I will briefly go over the different types of genres there are in literature and how it affects the readers greatly.
As a future educator, I have reflected on how my own personal experiences have formed me into the person that I am today, and how I can use my experiences to help my future students. I have also reflected on how I can information about family systems as well as risk and resiliency to better understand families that I will work with in the future, as well as how children with special needs impact a family’s structure. I believe all of these components are essential for teacher, student, and family collaboration and success.
Updike, John “A&P.” Exploring Literature: Writing and Arguing About Fiction, Poetry, Drama and The Essay.4th e. Ed. Frank Madden. New York: Pearson Longman, 2009. 496-501. Print.
Meyer, Michael, ed. Thinking and Writing About Literature. Second Edition. New York: Bedford/St. Martin's, 2001.
“In my estimation a good book first must contain little or no trace of the author unless the author himself is a character. That is, when I read the book I should not feel that someone is telling me the story but t...
In his essay, “On Several Obsolete Notions,” Alain Robbe-Grillet criticizes the stable characters, linear plotlines, and calculated content which make up the conventional novel. He argues that a novelist does not need to begin a story with its content in mind rather, “the novelist’s strength is precisely that he invents [...] without a model.” And that “invention and imagination become, at the limit, the very subject of the book” (Robbe-Grillet 32). Robbe-Grillet’s notions of the creative process are true in that a successful novelist may not require a formula to write by; instead he may experiment with language for a chance to reveal new ideas. The Nouveau Roman, or “new novel,” is a movement popularized by Robbe-Grillet’s criticisms of the conventional novel. Since the conventional form of narrative has been perfected by writers in such a way that it is easily accessible and enjoyed by the mainstream community. Writers were prompted to push boundaries, formally and stylistically, to create new innovative ways to tell a story. However, experimental fiction does not necessarily aim to tell a story but uses form, mood and style to create an ‘effect.’ This effect may intend to evoke the reader’s emotions, or to simply oppose conventional norms of literature. The problem with experimental literature is that it draws away from the act of storytelling itself. Therefore it is a writers’ job to find innovative ways to craft a story, without pushing boundaries for the sake of shock value, or to play devil’s advocate.
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.
I argue that Sartre posits language as a medium of communication that is capable of safeguarding the development of subjectivity and freedom. Language does this in a twofold manner: on the one hand, it is an action that does not phenomenally alter being, but that has the capacity of altering consciousness; on the other hand, language, more particularly written text, is a mode of communication that is delayed, hence that occurs outside the present, i.e. in a different space and a deferred time. As such, it preserves the subjectivity of both writer and reader. The argument is as follows: first, I present Sartre’s definition of freedom and subjectivity in terms of his definition of consciousness of the For-itself and In-itself in Being and Nothingness; second, I draw on examples from La Nausée to illustrate the link between language, consciousness and the expression of freedom and subjectivity; third, I refer to The Psychology of Imagination and What is Literature? to illustrate further the importance that Sartre places on writing and reading as means to establish a lasting impression of personal freedom and subjectivity in a manner that defies space and time.
Barthes agrees with many of the methods that Wimsatt and Beardsley advocate in their two essays, such as disregarding the author’s intention, identity and personal history as well as the reader’s personal history and emotional connection to the text. He also asserts the text’s importance above everything else. However, he revises the relationship between the author, critic and reader. While Wimsatt and Beardsley believe the critic is the most important person in the relationship and place the power of interpretation wholly within their hands, Barthes places the power in the reader who he believes should play with the text in order to find an appropriate meaning.
Sartre ,thus questions the meaning, purpose and significance of writing in his famous work “Literature and Existentialism” . the critical inquiry has always been quite natural to the style of Sartre in his writings. His investigations often begin with questions. Sartre, in his essay “What is Literature?” displays this trait again, he asks, “What is writing? Why does one write? For whom? The fact is, it seems that nobody has ever asked himself these questions”(24). Sartre draws a parallel with Althusser’s in his attempt to integrate psychoanalytic and sociological perspectives into a Marxist analysis .Consequently, each begins with a conception of human nature and then constructs a theory of human social practice, which is based on both an ontological conception of human nature and a theory of institutional
As the North American intellectual society developed over the 1950s, by growing more rigidly scientific and managerial in its modes of thought and intellect, a more ambitious form of critical approach seemed demanded which was the structural one. Undoubtedly, ‘new’ ideas often provoke anti-intellectual reactions and this has been especially true of the reception of the theories of ‘structuralism’ (Selden 51). Structuralism has had a profound impact on disciplines ranging from literary theory to sociology; from history to psychoanalysis. Structuralist approaches to literature challenge some of the most cherished beliefs and assumptions of the ordinary reader. For a long time, readers have long felt that any literary work is seen as the child of an author’s creativity and it expresses the author’s inner thoughts and feeling. Moreover, the literary work has been evaluated as ‘good’ if it tells the truth of the human life. However, the main premises of structuralist theories have tried to convince the readers that the author is ‘dead’ and the literary work has no truth function. Structuralism distinguishes between a work and a text. A work presupposes the author and his control over the meaning. In contrast, a text is self-contained and self-sufficient which is looked at independently from the author and with structural theories, the meaning is interpreted from the text. Hence, this paper aims at tracing the development of Structuralism, its main premises, and its shift to Post-Structuralism.
Literature is rarely, if ever, merely a story that the author is trying to tell. It is imperative that the reader digs deep within the story to accurately analyze and understand the message the author is trying to portray. Authors tend to hide themselves in their stories. The reader can learn about the author through literary elements such as symbolism, diction, and structure. A good example of this is Robert Frost’s poems The Road Not Taken and Nothing Gold can Stay in which he uses ordinary language unlike many other poets that became more experimental (Frost, Robert. “1.”).