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.
In Frederick Douglass’ narrative, Learning to Read, he states that, “As I writhed under it, I would at times feel that learning to read had been a curse rather than a blessing. It had given me a view of my wretched condition, without the remedy. It opened my eyes to the horrible pit, but to had no ladder upon which to get
Parentheses make perfect sense in nonfiction writing -- I, author, am telling you that the EI is not very important to whatever I am trying to say. In fact, you can skip the EI and still understand the main point. It's just an informational aside. In fiction writing, parentheses tend to be hypocritical.
Wittgenstein's pragmatic account of language What is characteristic of the Wittgenstein's late philosophical inquiries is that they hardly form any solid and complete theoretical framework in the same fashion as it is in the cases of Hegel or Husserl, for instance. Basically, it is really bold to claim that Wittgenstein built any theory whatsoever (at least in a strict sense). His 'dialogical' writing style that takes in a presentation of a great number of the mundane communicative situations evades a constitution of a coherent theory in favor of a description of how language is used in our everyday environment.
Even though the character of Harley never actually meets the character of the Constable in person and can thus only imagine what might have happened at the meetings, the above quoted passage still questions the credibility of official accounts. Even if in this particular case the fictive critique of the Constable’s attitude towards accounts is wrong, the general critique nevertheless remains eligible. And even if it is taken into consideration that both the narrating I and Constable Hall are nothing more than characters in a novel, invented by the author Kim Scott, the critique doesn’t forfeit its
The inner book challenges previous notions about reading and the psychology of it. In western societies there is a large amount of weight put on reading and reading analysis, but Bayard calls those notions into question. One never opens a book with a completely blank slate. When reading people always have some sort of basis for why they are reading that piece of work. Therefore the content of the book itself is rather irrelevant.
Psycholinguist Frank Smith states a similar argument, writing "The less nonvisual information that is available from behind the eyes, the more visual information is required" (67), telling the reader to open your eyes while reading and expand upon your nonvisual information, as Geisel states in his poem. In addition, the first chapter from My Reading Life acknowledges expanding upon previously established information akin to Frank Smith's assertions in his reading theory. For
The forgotten are not truly forgotten they have only departed the mind and the lack of recollection has created an illusion of no prior existence. Thus, important events in history are made subjective and trivial through the perception of their lack of significance in the eyes of others as they refuse to recall past events. “They wanted nothing more than to forget what had happened to them (Chapter 10 page 192).” Therefore, personal advancement and the progression of a society is hindered as the truth is veiled as non-existent. In the book Ghosts in the Fog Samantha Seiple portrays a correspondent environment to such a degree that she stresses the importance of recollection and truth.
Throughout Northrop Frye’s essay “The Singing School” Frye expresses his thoughts on how literature is not uniquely inspired, despite the different genres. Instead, Frye believes that, “a writer’s desire to write can only have come from previous experiences of literature”, and “he’ll start by imitating whatever he’s read, which usually means what people around him are writing” (14), this quotation explains that there is a pedigree to writing in which leads to conventions,which is a “typical and socially accepted way of writing” (14). Likewise, Frye constantly states that “literature can derive its form only from itself” (14), and are the the “typical ways in which stories get told” ( ). One of the three major conventions that Frye describes
So as you can tell, Faulkner does not think that Hemingway's short sentences and simple vocabulary are very negative things. However, other critics very well may disagree, arguing that this is an amazing writing
Analysis of Symbolism In Thomas C. Foster’s book, How to Read Literature Like a Professor, he argues that symbolism almost always represents multiple things. It is not concrete. It all depends on how one interprets it. Symbolism is not a concept of the black-and-white “What is this?”
Museums are underrated in that no one really acknowledges how important they are in not only society, but also preserving the history of that society. The role of the museum is to materialize history by expanding what the textbooks depict and show the physical manifestation of the past. Without museums, the only portal society would have to envision the past would be through textbooks. In essence, this means that there would be no real way to physically see or feel history as the only method would be reading texts describing what they looked or felt like. However, it is obvious that the public does not see every single artifact, or units in which history is preserved.
Thomas C. Foster uses the twenty-fourth chapter of How to Read Literature Like a Professor as a place to investigate how authors employ illnesses to give meaning to their stories. But not all illnesses are physical, and Courtney Cole’s novel, Nocte, displays how the human body reacts to extreme trauma in ways of self-preservation. After surviving a car crash in which her mother and brother died in, Calla Price’s body shut itself down into a coma and rejected all notions that pointed to reality. Instead, her brain blocked out anything that could make reality seem real, and she woke up from her coma believing that her brother and mother were still alive. Her illness may not have been as literal as heart disease or cancer but her inability to
In Thomas C. Foster's How To Read Literature Like a Professor, he describes the setup of the adventure of the protagonist, dividing it into five parts: Our quester, a place to go, a stated reason to there, challenges and trials, and the real reason to go. A protagonist must experience all of these things in order to accomplish their goals and learn their lessons. In The Secret Life of Bees, Lily Owens, the main character, must encounter these things in order to unlock the mystery of what really happened to her mother the night she was killed, in addition to learning about the passion of writing and telling stories, the dangers and foolishness of racism, and female power. Our quester, Lily, is a fourteen year old girl with a passion for writing.
Our first reading of EN101, Fredrick Douglass’ “Learning to Read,” helped our class to better understand the privilege of being a writer. Douglass lives in Hugh Auld’s household for roughly seven years. During this time, he is able to learn how to read and write, though Mrs. Auld is hardened and no longer tutors him. Slavery hurts Mrs. Auld as much as it hurts Douglass himself. The mentality of slavery strips her of her inherent sympathy for others, making her hardened and cruel.