Literary Theories: Critical Approaches in Critiquing LiteratureAndrea Tiangco
Literary Theories or Approaches:
Included in K-12 Senior High School Curriculum
Core Subject: Reading and Writing
HUMSS Specialized: Creative Nonfiction
Literary Theories: Critical Approaches in Critiquing LiteratureAndrea Tiangco
Literary Theories or Approaches:
Included in K-12 Senior High School Curriculum
Core Subject: Reading and Writing
HUMSS Specialized: Creative Nonfiction
mga anyo ng pagsulat ayon sa layunin.MAY APAT NA LAYUNI NG PAG SUSULAT
PAGLALAHAD\
PAGSASALAYSAY
PANGANGATWIRAN
PAGLALARAWAN
MAY MGA KWENTOO PANGUNGUSAP UKOL SA MGA ANYO NG PAGSULAT AYON SA LAYUNIN.
21st Century Literary Genres by Calle Friesendarinjohn2
Calle Friesen is a reading/literacy specialist at Buena Vista University in Storm Lake, Iowa. In addition, she is the program coordinator of the Masters in Reading program at Drake University in Des Moines, Iowa.
This is a powerpoint presentation that covers one of the topic of Senior High School: Reading and Writing. For this presentation, it deals with the topic of one of the methods of organizing information: Brainstorming.
mga anyo ng pagsulat ayon sa layunin.MAY APAT NA LAYUNI NG PAG SUSULAT
PAGLALAHAD\
PAGSASALAYSAY
PANGANGATWIRAN
PAGLALARAWAN
MAY MGA KWENTOO PANGUNGUSAP UKOL SA MGA ANYO NG PAGSULAT AYON SA LAYUNIN.
21st Century Literary Genres by Calle Friesendarinjohn2
Calle Friesen is a reading/literacy specialist at Buena Vista University in Storm Lake, Iowa. In addition, she is the program coordinator of the Masters in Reading program at Drake University in Des Moines, Iowa.
This is a powerpoint presentation that covers one of the topic of Senior High School: Reading and Writing. For this presentation, it deals with the topic of one of the methods of organizing information: Brainstorming.
riting About LiteratureGenerally, the essays you write in litera.docxdaniely50
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
riting About LiteratureGenerally, the essays you write in lite.docxjoellemurphey
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
Short Story Critical Paper Assignment Page count 3-4.docxAASTHA76
Short Story Critical Paper Assignment
Page count
: 3-4 pages
Format:
MLA, double-spaced, 12-point font
Required sources
: The short stories we’ve read to date
Now that we have nearly completed the short fiction unit of this course, it’s time to get to work on your critical papers.
The goal of a “lens analysis” essay or critical paper is
not
to simply compare and contrast two or three works of literature, but to put them in conversation with one another. We aren’t necessarily interested in how two or three particular stories contrast (because
every
story is different in a myriad of ways). We’re interested in looking at the ways the stories and their writers illuminate one another, how elements of craft and author intention are evident across multiple works of literature, and we’re interested in seeing how these elements of craft work to create different effects and create meaning in many works of literature.
Start your paper by formulating a two or three-sentence thesis statement or
argument
. You must then pull no less than
two quotes
from each story or text, passages of the story that serve as evidence to your thesis/argument.
You may choose one of the following essay topics (or another idea altogether) to address in your paper:
Character:
Choose protagonists (main characters) from two or three of the stories we’ve read. What does the protagonist most want? Make an argument. Who or what is in his/her way (antagonist)? Why is this a source of conflict or tension for him/her? What is the crisis? How does the climax or ending give you more insight into the meaning of the character’s desires and the overall theme(s) of the story? How do those desires change throughout the story?
Detail & Description and Imagery:
What sensory details make the world of the characters in these stories come alive? How is description working to affect meaning? What does the imagery add to the sensory in terms of emotional associations it brings to the text? Does the image recur (i.e. “the things they carried”)? If so, how does this repetition work to create meaning or enhance theme? Do you notice any
objective correlatives, metaphors
or examples of
personification
that enhance or affect meaning? Pick two different passages in each story you choose, and discuss how the writer’s choice of details and imagery helps characterize a place or a person, suggesting something that goes unstated (subtext) in the themes.
Subtext:
What goes unsaid in the dialogue and how does the writer give us hints to this subtext? Choose
at least
two passages of description of action or dialogue from two different stories and “read between the lines.” How are character gestures, imagery and/or metaphor working to help you “read between the lines” or uncover the subtext and Hemingway’s
Iceberg Theory.
What do you think is the purpose of subtext? What effect does subtext have on the reader?
Point of View and Voice:
How does the author’s use of sty.
How to Read and Understand an Expository EssayThe Initial Read.docxadampcarr67227
How to Read and Understand an Expository Essay
The Initial Reading
Read the first paragraph (or section for a longer essay). Then, read the conclusion. Identify what seem to be key concepts introduced in the opening of the essay and those concepts that have been emphasized or that have emerged in the conclusion.
Scan any headings or subheadings for a sense of progression of the development of key points.
With a pen in hand, begin reading the essay from the beginning, marking in your notes or on the printed page the main ideas as you see them appearing.
From your list of main ideas, annotated in the margins of each paragraph and copied to a separate page or note card, try to reconstruct mentally the main ideas of each paragraph.
Identify key passages that you may wish to use as direct quotations, paraphrases, summaries, or allusions in the drafts of an essay.
Subsequent Readings/Reviews
Always begin by reviewing first your notes and note cards on which you have copied the annotations of main ideas from each paragraph.
Turn to the text of the essay only when you fail to remember the exact reference made in the annotations of main ideas.
Identify the Mode of Development
Is the purpose of the essay to inform, persuade, entertain, or to explore?
What is the conclusion of any argument the author may be developing?
As an informational work, is the author's voice prominent or muted?
Be sure that you understand the writer's viewpoint and purpose:
Is the writer trying to explain his or her own opinion? Trying to attack another's position? Trying to examine two sides of an issue without judgment?
Is the writer being persuasive or just commenting on or describing a unique, funny, or interesting aspect of life and what it 'says about us'?
As a piece of entertainment, what specific literary humorous devices does the author employ? (See burlesque, hyperbole, understatement, other figures of speech.)
As an exploratory work, what is the focus of the inquiry? What is the author's relationship to that focus? Is s/he supportive, hostile, indifferent? What?
Analysis of the Author
Explain the author's attitude toward the subject of the essay. Is s/he sympathetic to the thesis, issue, or key concepts?
Explore on the Internet and/or other electronic or print media any information you can find about the author and the essay. Explain how this external information better helps to understand the essay.
Explain what seems to be the author's motivation in writing the essay and what s/he hopes to accomplish with the composition.
Identify any other factors in the author's biography or notes that seem relevant to the purpose of the composition.
Some Major Essayists
Benjamin Franklin (1706–1790)
St. John de Crevecœur (1725–1813)
Thomas Paine (1737–1809)
Thomas Jefferson (1743–1826)
James Madison (1751–1836)
Alexander Hamilton (1757–1804)
Ralph Waldo Emerson (1803–1882)
Abraham Lincoln (1809–1865)
Margaret Fuller (1810–1850)
Henry David Thoreau (1817–1862)
Frederic.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
1. Writing a Book Report
Book reports can take on many different forms. Three types of effective book reports are plot summaries, character analyses, and theme
analyses. Writing a book report helps you practice giving your opinion about different aspects of a book, such as the author's use of description or
dialogue. No matter what type of book report you decide to write, however, there are a few basic elements you need to include in order to convey why
the book you read was interesting. Always include the following elements in any book report:
the type of book report you are writing
the title of the book
the author of the book
the time when the story takes place
the location where the story takes place
the names and a brief description of each of the characters you will be discussing
many quotations and examples from the book to support your opinions
A Plot Summary
When you are writing a plot summary for your book report you don't want to simply retell the story. You need to explain what your opinion is of the
story and why you feel the plot is so compelling, or unrealistic, or sappy. It is the way you analyze the plot that will make this a good report. Make sure
that you use plenty of examples from the book to support your opinions. Try starting the report with a sentence similar to the following:
The plot of I Married a Sea Captain, by Monica Hubbard, is interesting because it gives the reader a realistic sense of what it was like to be
the wife of a whaling captain and live on Nantucket during the 19th century.
A Character Analysis
If you choose to write a character analysis, you can explore the physical and personality traits of different characters and the way their actions affect
the plot of the book.
Explore the way a character dresses and what impression that leaves with the reader.
What positive characteristics does the character possess?
Does the character have a "fatal flaw" that gets him/her into trouble frequently?
Try taking examples of dialogue and analyzing the way a character speaks. Discuss the words he/she chooses and the way his/he r words
affect other characters.
Finally, tie all of your observations together by explaining the way the characters make the plot move forward.
Try starting the report with a sentence similar to the following:
In the novel Charlotte's Web, by E. B. White, Templeton the rat may seem like an unnecessary character but his constant quest for food
moves the plot forward in many ways.
Themes
Exploring the themes (or big ideas that run throughout the story) in a book can be a great way to write a book report because picking a theme that you
care about can make the report easier to write. Try bringing some of your thoughts and feelings as a reader into the report as a way to show the power
of a theme. Before you discuss your own thoughts, however, be sure to establish what the theme is and how it appears in the story.
Explain exactly what theme you will be exploring in your book report.
Use as many examples and quotations from the book as possible to prove that the theme is important to the story.
Make sure that you talk about each example or quotation you've included. Make a direct connection between the theme and the e xample
from the book.
After you have established the theme and thoroughly examined the way it affects the book, include a few sentences about the impact the
theme had upon you and why it made the book more or less enjoyable to read.
Try starting the report with a sentence similar to the following:
In the novel Roll of Thunder Hear My Cry, by Mildred Taylor, the theme of racial prejudice is a major catalyst in the story.
No matter what type of book report you decide to write, make sure that your writing is clear and expressive and that you include examples from the
book to support your opinions. Book reports may seem disconnected from your other school work, but they help you learn to summarize, compare and
contrast, make predictions and connections, and consider different perspectives – skills you'll need throughout your life.