The interlude of Thomas C. Foster’s How to Read Literature Like a Professor captures theories that I find myself identifying with at large - that there is only one story. When Foster writes this, he speaks of literature and the idea that originality is impossible because we are all retelling the same human experience. While I would agree, I would even go as far to say that it is because experiencing something that no one else has is so rare. It’s so unlikely that the experiences that our lives consist of are truly our own and that is displayed in the lack of originality in storytelling. Foster goes on to explain how archetypes are hidden throughout literature and it can also be seen in the clichés found throughout life.
Nevertheless, the function of the decoder and encoder are reasonably different. The encoder has the possibility to drive the decoder. The reason for this is simple – the encoder encodes the message from his or her point of view. The statement of the encoder consists of his or her syntactic form and content as well as specific information which relies on the point of view of the encoder. Consequently, the perspective of the encoder represents the center of the information for his or her message.
By general definition, rules refer to a set of procedures, whereas arbitrary refers to a personal choice. When the question is read in a glimpse, we must have think that the word ‘rules’ and ‘arbitrary’ instantly contradicts one another. However, the word ‘arbitrary’ in the question illustrates a different meaning than its general definition. Arbitrary, under the context of language, simply means that word does not create meaning and there is no direct relationship between a word and an object. In addition, when the question states that language has rules, it refers to the semantic, syntax, and pragmatics rules that exist in language.
In Politics and the English Language, Orwell writes, “In certain types of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning. Words like romantic, plastic, values, human, dead, sentimental, natural, vitality, as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly ever expected to do so by the reader” (Language that Manipulates, 238). Orwell asks the reader to evaluate a scenario in order to point out one or more of the ways society takes words for granted. Orwell carefully exaggerates the issue of vocabulary apprehension and usage, thereby drawing light to the impending consequences of a seemingly small societal issue. This is particularly evident in the story when the character Syme is tasked with creating a new version of the Newspeak dictionary and one day informs Winston of the fact that “Newspeak is the only language whose vocabulary gets smaller every year” (Orwell 52).
In the reading, it says narrative is defined by Gerald Prince as “the representation of at least two real or fictive events or situations in a time sequence, neither of which presupposes or entails the other” (Palczewski 118). To me that definition is kind of confusing when it is read over once. Luckily, the book follows this definition and breaks it down in a way that is easier to understand. According to the book, narratives “depict or describe events; they are not the events themselves…. To be a narrative, a rhetorical action must organize people’s experiences by identifying relationships among events and across time” (Palczewski 118-119).
3. Practical Part As already mentioned in the previous section of the paper, it is most likely that Defoe did not own the copyright of his novel. In this case, he did not have to be particularly accurate/meticulous about the typography: copyright resting with the publisher, there always existed some risk that he might change the words or typefont or even cut out words, sentences or even passages. Hence/Accordingly, in the case of Robinson Crusoe, the authority over the whole typography remains unclear. It seems plausible though that all conventional instances of italics could be mechanically inserted/set up by the compositor of the proofreader when ignored/neglected by the author.
Thoreau mentions that reading books must be done, “... as deliberately and reserved as they were written,” (Thoreau 214). The act of reading alone does not give us wisdom, it is how the information is understood and retained. Thoreau's ideals are still extremely prominent in today's society. Any book read must be analyzed to fully understand the material. Students and scholars everywhere
The way in which they do this is starting out with a single way to interpret a text, but then going on to show how the language is unstable and does not adhere to one single meaning, thus showing there’s not a single way to interpret the text (Parker, 89). The purpose of this practice is to show how there is not a single meaning for anything, that everything has multiple meanings, and the systems that language is based on is already broken (Parker, 87). In “Christabel”, there are sections that a Deconstructionist reading would be interested in, particularly near the beginning, and after Geraldine is brought to the castle. There In these scenes, there are specific moments that can lend
125). Similarly, workbooks commonly used in synthetic reading programs have been criticised as not providing genuine reading experiences. Dr Andrew Davis suggests that blending sounds, while helpful, does not constitute reading, positing that synthetic phonics approaches afford “an inappropriate plausibility” that blending and reading are one and the same (2014). Emmitt, Hornsby and Wilson concur, stating that “teaching that a letter has a sound is quite misleading; we cannot know the sound a letter has unless it is in meaningful context” (2013, p. 11); this meaningful context comes in the form of authentic reading experiences. Notwithstanding the detractors, uptake of synthetic phonics in Australian classrooms is high, and is supported by research espousing the effectiveness of such approaches when appropriately implemented (Savage, 2007, p. 125); educators therefore must ensure that their implementation is direct and systematic, contains elements other than seatwork (workbooks and readers), and provides opportunities for students to engage in meaningful interactions with