Along these lines, the literary canon collects the similar or relate to literary works. Those who have ability to decide which piece of literature is canon -teachers, scholars, literary critics- often they have, to some extent, authority. The canonical statue is openness to change and challenge, especially with the authority alter; also, because the literature affected by the recent event, contemporary period and the author’s thoughts (wiseGEEK, 2016). What does make a literary piece a canon? Is there a standard of literary canon?
Later, based on the precious studies and findings, André Lefevere put forward the concepts of “translation as rewriting” and “rewriting as manipulation” in his book entitled Translation, Rewriting and The Manipulation of Literary Fame. He stresses that translation is a kind of rewriting, indicating all rewritings, whatever their intentions, reflect a certain ideology and poetics and manipulate literature to function in a given society in a given way. After we get familiar with the origin and development of Lefevere’s manipulation theory, this thesis tries to expound the notions of this
Graff paints reading as an insufferable and tedious chore that must be endured and the way that one is able to complete such a task is through theoretical analysis of the text. However, some students have a passion for reading that can drive them to spend time studying and interpreting a text. This would lead to more original ideas than interpretations that are influenced by what other critics say about a text or by the reader being told how to read a text. Graff does not believe in Bloom’s idea of “just reading”: “As readers, we are necessarily concerned with both the questions posed by the text and the questions we bring to it from our own differing interests and cultural backgrounds” (46-47). While Graff views this as an unavoidable contamination of “pure” reading, I believe this can also be viewed as a unique perspective that could be lost by an introduction to literary theory.
Rhetorical questions impact me as a reader by, engaging me into the text and also by making me think about what is being talked about in the book. Rhetorical questions impact the reading experience by bringing in new ideas and thoughts to the book, and makes you ask yourself the questions that being asked. I think that he added rhetorical questions to help the reader to think more about the book, and to help add an emphasis on what is being talked about in the book. Elie Wiesel is is trying to impact the reader and the reading experience by adding an emphasis on how what is happening doesn’t matter anymore, because they are going to end up dying anyways, whether that is in 20 years, or in 20 days; at the concentration camp or at their house. Personification: “But it was all in vain.
He does this to get the reader engaged in the story and want to read more. Authors use literary elements to convey multiple messages in a variety of ways to their audience. Every story is a quest. This means that the main character(s), or the questor(s), are trying to accomplish something or gain a better self knowledge. When the character is first introduced, he is first starting the quest, usually not knowing the end game.
This condition changed after the emergence of The Men in Gray in the chapter six. The Men in Gray appear to people who have problem with time. Then they proposed the concept of time saving to overcome the problem. If we see from this case, we can apply the mimetic criticism to analyze the chapter six. In the literary criticism handout, Mimetic criticism defines as a critic that views the literary work
I have always considered that the quality of a literary piece depends greatly on the way it is narrated. To understand the purpose of this essay we must first be clear about what the concept “point of view”, stands for in the literary world. According to our textbook, point of view is the perspective from which a story is narrated (Kennedy and Gioia 26). It has sparked my attention the particular use of this element in these two pieces. Juan Rulfo, author of “Tell Them Not to Kill Me” varies between a third-person perspective and a first-person view throughout the story and in contrast to Tim O’Brien, author of “The Things They Carried” who uses a similar technique but inversely.
Specifically, leaders of the movement describe themselves as unhappy with the exclusion of social and political circumstances (commonly known as the "context") from the interpretation of literary works; they are impatient with the settled view that a poem is a self-contained object, a verbal icon, a logical core surrounded by a texture of irrelevance. In this they are setting their jaws against the New Criticism, albeit rather late in the day. But their hostility can never (to use one of their own favored terms) be unmediated. The French nouvelle critique and German philosophical hermeneutics have intervened, at least in the history of fashions within the university; and the new movement has arisen at least as much in response to these later developments as to a critical establishment which has made a formalistic view of literary works its official doctrine. Thus the New Historicism in literary study has emerged in this decade not so much in the spirit of a counter-insurgency as after the manner of a corporate reorganization.
Some either read for fun, for education, to stimulate their fantasy, or to become tired. All reasons regulate the pace of reading. The reading pace is, nevertheless, bound to be subjective and differs from reader to reader. A generalisation of one particular reading pace, that can be mathematically derivated, is impossible, because various aspects matter and result in individual reading
CHAPTER II Archetypal criticism The roots of archetypal criticism Archetypal criticism is a type of literary criticism that focuses on particular narrative patterns, archetypes, motifs, themes or characters that recur in a particular literary work or in literature in general. Archetypal criticism has its basis in the application of concepts developed in psychoanalysis and in mythology to the study of literature. The main tendency of this approach to criticism resembles to the early conception of form in Western thought. Collective unconscious lays beneath the personal conscious and personal unconscious. As Jung said, the collective unconscious is ‘‘a storehouse of knowledge, experiences, and images of the human race.