Introduction: How’d He Do That? Memory, symbol, and pattern are a big bulk of reading in literature. By reading more and more, you will begin to see patterns in different works. Once you begin to compare and contrast, it will help you understand the bottom line of books.It’s becomes fun and exciting when you make connections. Chapter 1: Every Trip Is a Quest (Except When It’s Not) Paper Towns by John Green Five aspects of a QUEST: 1) A quester, 2) A place to go, 3) A stated reason to go there 4) challenges faced 5) The real reason to go there Our Quester : Quentin Jacobson (has always had a secret crush on Margo Roth Spiegelman) A Place to Go : New York City A Stated Reason to Go: To find Margo, who went missing the day after adventuring with Quentin. Challenges and Trials: Quentin and his friends face a big bump when having to decide whether or not they are going to have to miss graduation to find Margo Real Reason: To find not only the true Margo but also his true self. As he goes on his journey to find her, he realises he she isn’t really the person he thought she was. Seeing this helps him he opens his eyes to the person he really is and not the person his parents want …show more content…
An example of intertextuality is in West Side Story. Although this is a play, I could connect it back to Romeo and Juliet. The musical is a modern day version of the Shakespeare book, so there was a lot of intertextuality between the two. When watching the play, I noticed that two gangs have always been enemies and are fighting for control over the area. This is much like the on going battle between the Capulets and Montagues. Knowing this helped me see the rivalry between the two gangs. On top of this, one of the gang members falls in love with a rival’s sister. Again, having read Romeo and Juliet,I could relate this part to it. The both have the same theme of wanting something you can’t have. Another example
There are many symbols in the reading March that have a significant value. Throughout the graphic memoir, John Lewis shows there are certain symbols that are very common. Sorted in categories, each concrete object given in the photos provided are modified by their mutual abstraction.
out his lips, trying to gather back his pride, his anger, all that thunderclap he’d first come striding in here with” (296). Furthermore, she explains with her point of view of why he wants her to come with him, “Even as he said it, I could tell he didn’t want me, didn’t want me back on the farm, didn’t want me to be reminded of her. Another part of him –the good part, if there was such a thing–might even be thinking that I’d be better of here. It was all pride now, all pride. How could he back down?” *(297). It was only because of his pride that he did not want to leave her with the Boatwright’s.
In this chapter, a quest is defined to consist of five main elements: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a reason and go there. Element (a), the quester, is understood to be embarking on a journey while being with or without the realization that he/she is on a quest. The quester is also often depicted as one of youth because youth is accompanied with inexperience and a lack of self knowledge which allows the ultimate goal of the quest to be fulfilled which is the gating of this knowledge.
The idea of Thomas C. Foster’s chapter, “Every Trip is a Quest” is that every little journey a character takes can be as important to their character as a quest is to a knight’s. In James Joyce’s short story, “Araby”, we see a glimpse of truth in his statement. The main character of this story, I’ll call him Jack, is showing signs of a crush on his friend Mangan’s sister. Jack doesn’t understand his feelings, and unconsciously lets them control him. He attends Araby, the bazaar, because she told him that she couldn’t, to bring her something back. Then, on the day he wants to go, his uncle arrives home late, the train is delayed, he cannot find a cheaper entrance, most of the stands are closed, and the one he chooses to enter has a hostess who presents herself as rude and judgmental. So far, we have seen four of the five items that Foster states that a quest consists of; a quester, a place to go, a stated reason to go there, and a challenge, or trial. Finally, we come to Foster’s last point, “The real reason for a quest is always self-knowledge,” or the “real reason” for the quest. After Jack fails at his stated reasoning for the quest, he discovers something in himself. He comes to realize what his motivation for attending the event is the same reason for his failure and his both saddened and angered by it.
Lowell, Amy. "Patterns." Literature: The Human Experience. Ed. Richard Abcarian and Marvin Klotz. New York: St. Martin’s Press, 1996. 291-293.
Another major pattern is duality. You can see duality through out the whole book. One example is Mr. Utterson and Mr. Enfield. Mr. Utterson is very popular around town. He is also involved heavily with the town functions.
Answer: The five aspects of a quest: a) a quester, b) a place to go, c) a stated reason to go there, d) challenges and trials en route, and e) a real reason to go there. In All the Bright Places, the “wanderings” of Finch and Violet are all quests, but this comparison will focus on their first adventure.
Imagery has enormous influence in an individual’s comprehension of a novel. It permits the onlooker to envision the surroundings of the character as well as the characters themselves in the novel. There are two books in particular where imagery and symbolism are significant factors. In Lord of the Flies and Frankenstein, symbolism helped book lovers rouse a thought of how Frankenstein’s beast looks. Also a thought regarding how the island the young men crashed on in Lord of the Flies was conjured up through the words. Without the utilization of imagery and perhaps symbolism, books might be meaningless and uninteresting to readers.
Thomas C. Foster’s novel How to Read Literature Like a Professor, helps the reader understand the beginnings of a quest by breaking down the task into five steps. A quest will always consist of 1) a quester, 2) a place to go, 3) a stated reason to go there, 4) challenges and trials en route, and 5) a real reason to go there. A quester, the protagonist, typically is not aware that they are partaking in a quest. Step two and three are thought of together usually because the protagonist is told to go somewhere to do something. However, the stated reason to go to their destination is not the real reason they go there. As Foster explains, “In fact, more often than not, the quester fails at
In the book, The Bean Trees by Barbara Kingsolver, the notion of a quest is very prevalent. According to Thomas Foster, a Quest consists of five things a quester, a place to go, a reason to go there, challenges and trials, and an actual purpose (Foster). Taylor Greer’s journey in The Bean Trees embodies Foster’s ideals through which she gains self-knowledge, learns to thrive and finds her place in the world.
Particularly tree, one of the main, elements used bu Thom Jones in his story "A white Horse" , Symbolism (designed to convey impressions by suggestion rather than by direct statement), Contrast (which is a distinction between two ideas, objects or co lours.
The Hero’s Journey is a basic template utilized by writers everywhere. Joseph Campbell, an American scholar, analyzed an abundance of myths and literature and decided that almost all of them followed a template that has around twelve steps. He would call these steps the Hero’s Journey. The steps to the Hero’s Journey are a hero is born into ordinary circumstances, call to adventure/action, refusal of call, a push to go on the journey, aid by mentor, a crossing of the threshold, the hero is tested, defeat of a villain, possible prize, hero goes home. The Hero’s Journey is more or less the same journey every time. It is a circular pattern used in stories or myths.
When reading a book understanding the context, juxtaposition, and the author’s style is important, so the reader can later interpret the information. Understanding the juxtaposition of a book allows readers to understand how the events of the story are placed. The juxtaposition of a book also helps with comparing and contrasting. If the reader understands what occurrences were placed next to each other, than they can make connections between the various concepts.
In the history of written literature, it is difficult not to notice the authors who expand their reader's style and manner of reading. Some write in an unusual syntax which forces the reader to utilize new methods of looking at a language; others employ lengthy allusions which oblige the reader to study the same works the author drew from in order to more fully comprehend the text. Some authors use ingenious and complicated plots which warrant several readings to be understood. But few authors have used all these and still more devices to demand more of the reader. James Joyce, writer of Ulysses and Finnegans Wake, uses extraordinarily inventive and intricate plot construction, creative and often thought-provoking word constructions, allusions to works both celebrated and recondite, and complex issues and theories when challenging his readers to expand their method of reading.
The formalistic approach is only one way of dissecting an open text such as the poem "To His Coy Mistress", but it is one of the best ways to search for the overall meaning of a text. With tools such as structure, style, and imagery, the reader becomes personally involved with the characters and savors the story instead of just reading the written words.