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Read e-book online A way with words II : approaches to literature PDF

By Michael D.C. Drout, Recorded Books

ISBN-10: 1428173943

ISBN-13: 9781428173941

ISBN-10: 1428173951

ISBN-13: 9781428173958

Is literature one of those lie? Can fiction ever be "realistic"? Why can we learn? What should still we learn? Professor Drout presents perception into those and different provocative questions, together with these on the topic of the position of the textual content, writer, and viewers within the interpreting process.

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And writers, when they create literature, are likewise aware of the patterns that their readers perceive. Think of what you expect to find when you pick up a fat paperback novel in an airport bookstore. On the cover is a weapon of some kind, perhaps a flag of a hostile nation, and a background of what might be fire. If you then start reading a spare, poetic meditation on life in the countryside in old age, you would be surprised. com LECTURE EIGHT These patterns operate at different levels. There are patterns of narrative (through which readers and authors know what “naturally” comes next in a story) and patterns of design (such as a multi-point-of-view novel, a five-paragraph essay, or a short story with an “epiphany” or “kicker” at the end).

Therefore, we can then come up with a menagerie of variations of feet and lines: iambic pentameter, trochaic tetrameter, iambic trimeter, trochaic hexameter. 41 Most people know that Shakespeare’s noble characters usually speak in iambic pentameter. Thus Richard III says: NOW is the WINter of our DISconTENT MADE GLORious SUMMer by THIS SON of YORK Shakespeare’s commoners mostly speak in prose. But other characters often have characteristic meters in which they speak. For example, in A Midsummer Night’s Dream, Puck speaks in trochaic tetrameter (four feet per line, with each foot following the pattern unstressed/STRESSED).

There is a pattern in a variety of oral-traditional texts that is called the Return Song. It often begins with a hero shouting in prison and disturbing a woman whose child will not sleep or feed because of the hero’s shouts, involves a variety of adventures, and then finally has the hero going back to the home he has been exiled from. That pattern shapes the Odyssey and many different epics from the former Yugoslavia. Then, by extension, it shapes Virgil’s Æneid and thus all the medieval texts that try to build on the Æneid, such as Layamon’s Brut.

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A way with words II : approaches to literature by Michael D.C. Drout, Recorded Books


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