By reading “How to Read Literature like a Professor” and “The Kite Runner”, the reader is aided in his or her ability to understand the true meanings behind the text. One is able to decipher how the act of coming together to eat can mean anything from a simple meal with family, to an uncomfortable situation that leads to anger or stress in an individual character. The reader is able to understand the use of rain or other weather in a novel to transform the mood and tone of scene, or understand the cleansing or destructive qualities that weather may have on the overall plot of the story. The use of illness can be transformed, as it can lead to the reader discovering veiled means behind tuberculosis, cholera, a simple cold, or even cancers such
In the beginning of Chapter ¬15 of How To Read Literature Like A Professor, Thomas C. Foster first introduces the very known fact that humans cannot fly. So if a human is able to in a piece of literature, it belongs to the categories he lists later on. However, the categorization is an superficial analyzation of flying. He introduces the history of flying and how humans have strived to defied the laws of gravity forever.
Thomas Foster's How to Read Literature Like a Professor, is a thought provoking guide to reading literature. This book helps with understanding the “language of reading” and the importance of details. Foster opens up a new side of literature where rather than reading emotionally, you dig deeper into the grammar of the literary work to discover the true meaning.
In the book How to Read Literature Like a Professor, author Thomas Foster explains concepts that have been used in writing and how those can be interpreted differently. This includes vampires and ghosts and their relationship to seemingly normal people. The concept of vampires and ghosts can be found throughout the book The Scarlet Letter in the character Roger Chillingworth. It is hard to tell what his true intent is throughout the book, thus making him seem suspicious and somewhat evil.
How to Read Literature Like a Professor is a book that shows numerous ways and strategies to understand what their reading. Each chapter shows examples from books and use of literary devices that can help develop the meaning of the story. Think of this book as reading between the lines. In The Great Gatsby, F. Scott Fitzgerald used people to symbolize objects or things to let the reader have an interpretation on the characters. For example, the green light represents Gatsby's future for him and Daisy to be together. The green light is the most important symbol of the book because it has a meaning for many things. It also was interpreting the American Dream and money. Gatsby lived a poor life when he was younger and being in his situation now made him want to impress business and famous people, even Daisy. The first technique is used in chapter 10: Is That A Symbol? called allegories. Allegories are stories that reveal a hidden meaning. ¨Things stand for other things on a one-for-one basis (Foster 98).¨
Chapter seventeen of How to Read Literature Like a Professor focuses on how authors employ sex in their writing as a way to encode other things. For example, in the 2015 romantic comedy film, Trainwreck, Amy Schumer plays a young woman with a liking for booze, sex and drugs. The film begins with a scene where Gordon Townsend is explaining his reasoning for why monogamy isn’t realistic to his two little girls. The film then flashes twenty three years forward, directly into a sex scene featuring Amy and a one night stand. The scene is fairly short and it is obvious that the attraction on Amy’s side is limited, for she pretends to fall asleep soon after walking in the door. After the man falls asleep, one can hear Amy speaking. She explains her
How to Read Literature Like A Professor by Thomas C. Foster is a guide to the aspiring advanced literature reader on how to analyze and understand works of literature through the eyes of an individual trained in the specialty. It aims to provide different techniques of delving in to literature in attempt to find deeper meaning within the book. After reading this book, the reader should be able to read a novel and find topics discussed in the book, and then using their knowledge find hidden meanings that add to the underlying theme of the book. In the context of the Lord of the Flies, there are many instances where the ideas discussed in Foster’s book can be found in the novel. The weather, baptism and a Christ Figure are all themes described
Behind each movie lies the meaningful aspects and significant features 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 film, Maleficent. This movie showcases several of his ideas, 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.
How to Read Literature Like a Professor for Kids Correlations to Eragon Literature in all forms can be connected with each other. No matter the type, genre, or author all stories have underlying meanings that can be linked with another. These connections can be categorized and applied to all varieties of written composition. In Thomas C. Foster’s book How to Read Literature Like a Professor for Kids, he dictates various aspects that can be found in pieces of literature. There are many instances from Christopher Paolini’s bestselling novel, Eragon, that correlate with Thomas C. Foster’s How to Read Literature Like a Professor for Kids; the most prominent of these occurrences are coincident with chapters fourteen: “Marked for Greatness”, sixteen: “It’s Never Just Heart Disease… and Rarely Just Illness”, and eleven: “Is That a Symbol?”.
All of which helped tremendously with becoming a more precise writer and developing my identity as a writer. In the beginning of this course we worked with different readings that were intended to challenge us intellectully. Readings such as “To see your story clearly, start by pulling the wool over your own eyes” which is found the New York Times and “All Writing is Autobiography” by Donald M. Murray where readings that were meant to be challenging yet unfamiliar to us as well. This concept helped me greatly because it proved that I can be a flexible reader.
Chapter five of How To Read Literature Like An English Professor is about how Shakespeare is prominent in both old and current works of literature and in the media. Foster states “He’s everywhere, in every literary form you can think of. And he’s never the same: every age and every writer reinvents its own Shakespeare.” (33). So why Shakespeare? Foster states “There is a kind of authority lent by something being almost universally known, where one has only to utter certain lines and people nod their heads in recognition.” (38). People recognize parallels to his stories. Foster also writes that Shakespeare provides a character in which authors can bounce ideas off of to further develop their own stories. Some famous books and movies that parallel Shakespeare are The Hunger Games, Star Wars, and The Fault In Our Stars.
How to Read Literature Like a Professor by Thomas Foster offers a variety of different ways to analyze literature so the reader can understand all levels of a literary piece to get the most out of their reading. His ideas can be applied to almost any kind of work, including movies, such as Beauty and the Beast. The chapters of HTRLLAP that can best interpret and explicate all levels of meaning in Beauty and the Beast are: Every Trip Is a Quest (Except When It’s Not); …More Than It’s Gonna Hurt You: Concerning Violence; and Is That a Symbol?
In the list of the world’s most watched fairy tales, Cinderella is of no exception. Over the years, seven hundred versions of Cinderella have been created all over the world in different languages (Kelley, 1994). In the 19th century, the first written form of the story was published in China. However, a modern version of Cinderella collated in France in 1697 by Charles Perrault (Williams, 2016) has become very popular in the United States (Kelley, 1994). Based on Perrault’s version, Walt Disney created a full-length animation of Cinderella in 1950 (History.com Staff, 2009).