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More handpicked essays just for you.
Into the wild literary analysis
The help literary analysis
The help literary analysis
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“The Hook” is written by K. M. Weiland. She is the IPPY and NIEA Award-winning and an author read all over the world. Her Amazon bestsellers are Structuring Your Novel and Outlining Your Novel, as well as the western A Man Called Outlaw, and Jane Eyre: The Writer’s Digest Annotated Classic, the medieval story Behold the Dawn, and the fantasy novel Dreamlander. She has won Writer’s Digest’s “101 Best Websites for Writers” for two years, and has appeared on npr’s podcast, “All Things Considered”. Her story, “The Hook” is a helpful essay on catching a reader within your first paragraph using a “Hook”. K. M.’s introductory paragraph opens stating that “Readers are like fish.”(Weiland, 1) With such an accusation to the reader, most people would
Foster, Thomas C. How to Read Literature like a Professor: a Lively and Entertaining Guide to
He too quickly dismisses the idea of reading on your own to find meaning and think critically about a book. For him, Graff states that “It was through exposure to such critical reading and discussion over a period of time that I came to catch the literary bug.” (26) While this may have worked for Graff, not all students will “experience a personal reaction” (27) through the use of critical discussion. The solution to this seems to be neither giving away answers or lazily doing assigned reading in order to find meaning within the text.
Haas and Flower then provide an example [Page 177], of the differences of a student reader and an experienced reader. The example shows a remarkable difference between the two, the student reader was able to identify the situation and paraphrased what he found out. The experienced reader not only identified the situation, but provided a theory to attempt to explain what the author was trying to do; this is quite different than what the student reader provided. I believe Haas and Flower added the example to emphasize the difference of the conclusions that the student reader and the experienced reader came to. By adding the example, Haas and Flower were also able to support rhetorical reading and the difference it made between the readers. Haas and Flower then state the following: “While the student reader is mainly creating a gist and paraphrasing, the experienced reader does this and more – he then tries to infer the author’s purpose and even creates a sort of strident persona for the writer” [Haas and Flower, 177] The following quote is basically the description of the experiment, and explains the difference in the student reader’s response to the experienced reader’s
The title of the poem itself dictates the simplicity Bishop wishes to convey regarding the narrator's view of his catch. A fish is a creature that has preceded the creation of man on this planet. Therefore, Bishop supplies the reader with a subject that is essentially constant and eternal, like life itself. In further examination of this idea the narrator is, in relation to the fish, very young, which helps introduce the theme of deceptive appearances in conjunction with age by building off the notion that youth is ignorant and quick to judge.
message are Jonathan Culler and Stephen Greenblatt. Culler points out that we read literature differently than we read anything else. According to the intertextual theory of how people read literature, readers make assumptions (based on details) that they would not make in real life.
Traplines is a collection of short stories by the Canadian author Eden Robinson. These fictional short stories each have a narrator that is a child who experiences circumstances that most children of their age should not have to face. As the title of these works suggests the children seem to be trapped in their situations one way or another, and they simply have to take what life throws at them. Each of them, however, seem to be trapped by silence in their predicaments. Often the narrators turn to addiction, such as drugs or alcohol, and even suicide and violence as the only possible escapes from their circumstances.
6. Murfin, Ross C. "What is Reader-Response Criticism?" in The Scarlet Letter. Nathaniel Hawthorne. Boston: Bedford, 1991.
"Any critical reading of a text will be strengthened by a knowledge of how a text is valued by readers in differing contexts."
One way for readers to measure their level of comprehension in this story, is to explore the meaning of the title, it's effect on the book's theme and how it provides a deep look into Holden's character. Being an attention demanding tool, the title also can provide a mystery to which the reader can understand by pulling together the clues, hidden in the text. To an experienced reader, who may be familiar with the book, imagery of a catcher in the rye is apparent throughout the story. However, for a new reader the journey begins past the middle of the book.
Flynn, Elizabeth. Gender and Reading: Essays on Readers, Texts, and Contexts. Johns Hopkins, 1986. 280-281.
Griffin, Susan. “Our Secret”. Ways of Reading Eds. David Bartholomae and Anthony Petrosky. Sixth edition. Boston. New York: Bedford/St. Martin’s, 2002.
By starting this essay with narrative writing he captures the reader’s attention, especially the readers with the same literary repertoire. This is what happened in my case. I have a certain fascination for cars, so when I noticed it was about a car it just grabbed my attention and kept it.
Reading Rosenblat is certainly a difficult task. While reading The Reader, the Text, the Poem, I was absorbed by her philosophical discussions about the way we process literacy. Her philosophy has challenged my previous notions about reading processes. At a first glimpse, reading seems to be a very structured process. We see a word, decode the graphic-sound correspondence, and finally we assign meaning to this group of sounds. Precisely, this is what Rosenblatt rejects, the notion that we process reading in a systematic and objective fashion. Her rejection is also against to think that there are absolute processes, and that all readers react in the same way when facing a text.
...hook, it 's just not going to mean anything to anybody else” (Maggie Stiefvater Website). It is the combination of the world building narrative techniques and the shifting narration, which launch the reader into the world of Thisby where the reader becomes immersed in the tension leading up to the races and the need to encounter more of the lore that surround the vicious, beautiful water horses. However, in the end, it is the emotional truth, the capacity of the reader who has theory of mind, that he or she can empathize and understand the reader. It is Puck and Sean’s engaging personalities and tangled motivations that enable the narrative to hook its claws into the reader, whereupon the first person point of view, swath of sensory details, and emphasis on transitive movement encourages the reader into creating an embodied simulation of Sean and Puck’s experiences.
Such views influence both L1 and L2 reading studies. Kern (2000) explains the importance of the social and personal interpretation of reading, he says that readers have the freedom to interpret texts in any way they like if they do not deviate from the so-called interpretive constraints. In terms of fo...