Theme In Literature

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Mark Dixon

Tecnología Educación

Theme in Literature Introduction to Shakespeare Mr. Dixon

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Dr. C. Carney Essay # 2: Literary Analysis of a Short Story with Light Research This assignment requires you to analyze a work of fiction from my list of options (see link on Canvas assignment page). This essay requires you to develop a focused and opinioned thesis about the story, as this assignment is not asking you to write a mere “book report” which is only a re-telling of the story. It also requires you to find and use three sources to support your ideas: one source that needs to be from a peer-reviewed, scholarly journal in literature that pertains to the story and/or the author (this source must be obtained through the HCC library databases) AND another source (website preferably) that DOES NOT pertain directly to the story nor to the author, but rather to the theme presented in your thesis statement and discussed throughout your essay (you cannot pursue this second source until you’ve established your thesis and know what “angle” you are pursuing) AND a third source that is entirely your choice. I. The Purpose of a Literary Analysis: A literary analysis is not merely a summary of a literary work. This kind of analysis analysis, like any analysis, is just that: ANALYTICAL! It is intended to reveal and/or explain meaning. Thus, the assumption is that meaning exists, and it is the job of a (close/active) reader to ferret it out and offer a response to it! Far from being a mere summary, it is an argument, essentially, about the work that expresses the essay writer’s personal perspective, interpretation, judgment, or critical evaluation. This is accomplished by examining the literary devices, word choices, or writing structures the author uses within the work first, followed by a critical analysis of content. Another purpose of a literary analysis is to demonstrate why the author used specific ideas, word choices, or writing structures to convey his or her message. II. How to Create a Literary Analysis: 1. Select (and ideally print) one of the stories listed on my Learning Web page (linked on the Canvas assignment page for this essay assignment). The stories listed here are the only acceptable stories for this assignment, and they are all in full text so there’s no need to find them elsewhere. 2. Read the text closely at least a couple of times. Focus on the ideas that are being presented. Think about the characters’ development and the author’s writing technique. What might be considered interesting, unusual, or important? 3. Brainstorm a list of potential topics. Highlight important passages in the text and take notes on these passages. Think of the ideas/concepts that strike you as you read. Later, when writing the paper, these notes should help a writer to .

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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 ...

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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.

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