How to Read Literature Like a Professor Introduction: How’d He Do That? Conventions in stories: Types of characters Plot rhythms Chapter structures Point-of-view limitations Chapter 1: Every Trip is a Quest (Except When It’s Not) The reason for a quest is always self-knowledge The stated reason is never the actual reason to go on a quest‚ the real reason for a quest is self-knowledge. Most of the time‚ when a piece of literature involves someone going somewhere and doing something‚ it
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How To Read Literature Like a Professor Outline Chapter 1 – Every Trip Is a Quest (Except When It’s Not) Main Ideas: To have a quest‚ a novel must have A knight A dangerous path A holy grail An evil knight A dragon A princess The quest is always educational and provides knowledge of ones self Chapter 2 – Nice To Eat With You: Acts of Communion Main Ideas: It is a communion “Whenever people eat or drink together...” Breaking bread together is an act of sharing and peace
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The primary virtue of How to Read Literature Like a Professor is it’s "duh’ factor. Take this trick question: In a lake‚ there are a patch of lilies‚ which double in size every day. If this patch of lilies take 48 days to cover the entire lake‚ how many days would it take for the patch to cover the entire lake? Maybe you think you know the answer. Maybe you have no clue. But then you hear the answer. That it takes 47 days for the lilies to cover half of the pond. It’s that feeling - that the knowledge
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In Frankenstein‚ Mary Shelley uses symbolism and allegory to depict the actions of the main characters and what their actions truly mean. In How to Read Literature Like a professor‚ Thomas C. Foster asks his readers what you think a symbol stands for‚ Foster also writes “[whatever] you think it stands for‚ it probably does." (ninety-seven) Frankenstein contains many symbols‚ however there is only a few symbols that truly support our findings the whole nine yards. There are six specific symbols and
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Blake Allen How to Read Literature like a Professor Foster Allen Introduction memory symbol pattern These basic examples of literary analysis can be found in most literature from Alice’s Adventures in Wonderland to Paper town. Every Trip is a Quest “a quester‚ a place to go‚ a stated reason‚ challenges and trials en route‚ and a real reason” real reason is always self-knowledge In Romeo and Juliet‚ Romeo goes to the Capulet party because his friends dragged him along but the real reason was so
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How to Read Literature Like a Professor (Thomas C. Foster) Notes Introduction Archetypes: Faustian deal with the devil (i.e. trade soul for something he/she wants) Spring (i.e. youth‚ promise‚ rebirth‚ renewal‚ fertility) Comedic traits: tragic downfall is threatened but avoided hero wrestles with his/her own demons and comes out victorious What do I look for in literature? - A set of patterns - Interpretive options (readers draw their own conclusions but must be able to support it) - Details ALL
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community owns it’s own type of myth belief system. Myths can be in different forms in literature‚ paintings‚ and music. All of these forms tell a story‚ even though it is difficult to notice the story it is trying to tell. The literature form of myths is used by modern writers because the situations between the myths and the modern literature writing is very much alike. These comparisons are parallels‚ but how the myths are used and written in the modern world are ironized. A lot of the important
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Analysis: Compare chapter 11: How to Read Literature Like a Professor-“…More Than It’s Gonna Hurt You: Concerning Violence” to chapter 2 (part 2) of The Fountainhead. At the beginning or chapter two of The Fountainhead‚ Dominique is thinking about Roark again. She is thinking about his body in ways no one can imagine. Then Dominique destroys her fireplace on purpose just to have Roark come over to her house. But when he does come over‚ Roark completely ignores Dominique. He leaves and then he comes
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chose a path of life. In “The House on Mango Street”‚ Esperanza is forced to think about leaving Mango Street in the future‚ because she is surrounded by women who are pushing her to become an adult. The first example is Cathy‚ who knows all the dangers of Mango Street. “She lives upstairs‚ over there‚ next door to Joe the baby – grabber. Keep away from him‚ she says. He is full of danger.” (Cisneros 12). Cathy tells her what to avoid on Mango Street‚ and about the people on it. And
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In the interlude and the eleventh chapter of Thomas C. Foster’s How to Read Literature Like a Professor‚ Foster analyzes the different effects violence has in literature. Firstly‚ Foster distinguishes that there are two different types of violence in literature. The first form of violence is when a specific injury is brought upon a character by themselves or another character through “shootings‚ stabbings‚ garrotings‚ drownings‚ poisonings‚ bludgeonings‚ bombings” and other harmful means (96). Contrasting
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