In “Why Literature Matters”, the Dana Gioia emphasizes the importance of literature. Using logos and pathos, he justifies his claim on how the waning interest in literature is affecting America’s society in many negative ways. In the sixth paragraph, he uses logos to appeal to the working class by referring to a poll in 2001 taken by the National Association of Manufacturers. The poll was taken on their members about the skill deficiencies among their workers.
The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.
Such dreary diction stirs up emotion of desolation and misery as Hawthorne’s word choice connects and reminds his audience of dark thoughts. By opening his novel with such a grim subject, Hawthorne creates a contemptuous tone as he indirectly scorns the austere Puritans for their unforgiving and harsh manners. With the demonstrated disdain, Hawthorne criticizes puritan society and prepares his audience for further
The expectations a reader might have concerning Dillard’s writing, putting a “hat” on her, is pushed away by Dillard because she knows the importance of writing how she wants, thereby exceeding the expectations of her readers. Dillard understands what it is like to sit under the shadow
King reveals that reading helps writers know what is”fresh” and what have already be seen, the slang “fresh” sustains the informality of the writing. King’s uses a critical tone to address society’s attachment to television. He writes, “. . . TV—while working out or anywhere else—really is the last thing an aspiring writer needs.” (148).
This first sentence in the passage immediately makes the reader wonder about the setting and what’s going on. In other words, the author W.W. Jacobs grabs the reader’s attention by making the readers think and be curious about
As a college student, Emily Vallowe wrote a literacy narrative with a play on words title: “Write or Wrong Identity.” In this work, she told the story of how she believed her confidence as a writer developed; however, she was becoming dubious as to her distinctiveness as an author. Although I have never been a self-proclaimed wordsmith as Ms. Vallowe obviously had been for years, I related to her journey. Not only did she grow up in Northern Virginia like I did, she never considered herself an inept writer—a possibility that I could not fathom about myself. Then, at some point, we both began to question our own ability and to question who we really were.
Reader-Response Criticism is as important as the author is since; readers are active participants in literary works and has his or her own opinion, understanding and image of the work read. Even though the interpretation may look similar from one person to another, nonetheless, there will always be a slight difference in how it is perceived. According to Barnet, Burto, and Cain (2011), readers are to give a response that cannot be compared to the real life. “At one extreme are those who say that our response to a work of literature should be purely aesthetic- a response to a work of art-and not the response we would have to something comparable in real life” (p. 1745). Moreover, it is also important for readers to keep in mind that
1.4 Literature overview At the end of the nineteen century, was published a book, for the first time, concerning Jane Austen’s literary work. Exactly in 1890, the writer Godwin Smith gave for printing Life of Jane Austen, and from then he started a new era which values the author’s literary legacy, so others begun to write critics; thus, this moment marked the first step of the authorized criticism, focused on Austen’s writing style. In conformity with B.C. Southam Critical Heritage, the criticism attributed to Jane had increased after 1870 and became formal and organized. Therefore, “we see the novels praised for their elegance of form and their surface ‘finish’; for the realism of their fictional world, the variety and vitality of their characters;
Kincaid sets out to prove that English life was all just an exaggeration not worthy of the publicity and attention it received. Kincaid makes a fascinating argument that the idea of something and its reality are two completely different things. Using herself as a firsthand source, she uses many metaphors and personal narratives to help the reader understand her views and emotions
The ending of James Joyce’s “Araby” is certain to leave its reader reeling. The final scene, in which the young protagonist fails in his mission to purchase a prize for the girl he loves, drips with disappointment. The reader feels a profound melancholy which matches the protagonist’s own, an impressive feat given the story’s short length and the lack of description, or even a name, given to the boy. How does Joyce arrive at this remarkable ending? By utilizing the trappings of the Boy Meets Girl and Quest “masterplots” in his story only to reveal the story as an Initiation, Joyce creates an experience for his readers that mirrors that of the protagonist.
The consequences of the aestheticism movement and more specifically, self-indulgence, are not only prominent in the novel but also in Wilde’s own life.
As readers, we must be skeptical of the storyteller’s motives for, as in the nature of storytelling, information is manipulated to convey a certain meaning to the reader; to trust a writer to communicate objectively is dangerous as with explication important information can
The novel is constructed to even deceive the reader. The first paragraph of the first chapter begins with a description of a beautiful summer day with “delicate perfume” (Wilde 1). It is a beautiful and pleasantly smelling environment but it is also
Ezra Pound and his influence on modernism Ezra Weston Loomis Pound was an emigrant American poet and critic who was a key figure of the early modernist movement. Pound promoted, and also sporadically helped to shape, the work of different poets and novelists such as William Butler Yeats, Ernest Hemingway, James Joyce, D.H. Lawrence, Robert Frost, and T.S. Eliot. His influence on poetry began with his development of “Imagism”, a movement stressing clarity, carefulness and conciseness of language. Modernism is a movement that arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th centuries. Modernism rejected the certainty of Enlightenment thinking.
