how to read literature like a professor frankenstein review mrs. harbison frankenstein review mrs....
TRANSCRIPT
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How To Read Literature Like a Professor
How To Read Literature Like a Professor
Frankenstein Review
Mrs. Harbison
Frankenstein Review
Mrs. Harbison
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Every Trip Is a Quest (Except When It’s Not)
Every Trip Is a Quest (Except When It’s Not)
• A Quest consists of 5 things:– A quester
– A place to go
– A stated reason to go there
– Challenges and trials en route
– A real reason to go there
• A Quest consists of 5 things:– A quester
– A place to go
– A stated reason to go there
– Challenges and trials en route
– A real reason to go there
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• The real reason for a quest never involves the stated reason
• Usually, the quester fails at the stated task
• The real reason for a quest is always Self-Knowledge
• The real reason for a quest never involves the stated reason
• Usually, the quester fails at the stated task
• The real reason for a quest is always Self-Knowledge
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...Or the Bible...Or the Bible
• Loss of innocence…..The Fall
• Adam and Eve
• Satan
• Forbidden Fruit
• Ecclesiastes = for every time there is a season
• Names matter
• Proverbs
• Loss of innocence…..The Fall
• Adam and Eve
• Satan
• Forbidden Fruit
• Ecclesiastes = for every time there is a season
• Names matter
• Proverbs
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• But I don’t know the Bible….
• Resonance Test
• If something’s going on that’s beyond the scope of the story’s or poem’s immediate dimensions, if it resonates outside itself, look for allusions to older and bigger texts
• Biblical dimension = depth to the story, timelessness, and archetypes
• But I don’t know the Bible….
• Resonance Test
• If something’s going on that’s beyond the scope of the story’s or poem’s immediate dimensions, if it resonates outside itself, look for allusions to older and bigger texts
• Biblical dimension = depth to the story, timelessness, and archetypes
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It’s Greek to MeIt’s Greek to Me• Shaping and sustaining power of story
and symbol
• Myth is a body of story that matters
• Greek and Roman myths
• Icarus and Daedalus
• Arachne
• Atalanta
• Jason, Hercules, Theseus, and Perseus, Odysseus
• Shaping and sustaining power of story and symbol
• Myth is a body of story that matters
• Greek and Roman myths
• Icarus and Daedalus
• Arachne
• Atalanta
• Jason, Hercules, Theseus, and Perseus, Odysseus
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• Medea
• The Minotaur and the Labrynth
• The Fates
• Muses
• Medusa
• Pan
• Charon/The River Styx
• Elysian Fields/Tartarus
• Medea
• The Minotaur and the Labrynth
• The Fates
• Muses
• Medusa
• Pan
• Charon/The River Styx
• Elysian Fields/Tartarus
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• The gods: Zeus (Jupiter), Hera (Juno), Athena (Minerva), Apollo (Helios), Artemis (Diana/Luna), Hepahestus (Vulcan), Aphrodite (Venus), Ares (Mars), Dionysus (Baccus), Posiodon (Neptune), Hades (Pluto), Hermes (Mercury), Hestia (Vesta), Persephone (Proserpina), Demeter (Ceres)
• The gods: Zeus (Jupiter), Hera (Juno), Athena (Minerva), Apollo (Helios), Artemis (Diana/Luna), Hepahestus (Vulcan), Aphrodite (Venus), Ares (Mars), Dionysus (Baccus), Posiodon (Neptune), Hades (Pluto), Hermes (Mercury), Hestia (Vesta), Persephone (Proserpina), Demeter (Ceres)
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It’s More Than Just Rain or Snow
It’s More Than Just Rain or Snow
• Setting, it’s true – but that’s not all
• It’s never just rain/snow/sun/warmth/cold/sleet
• The Flood
• Drowning = one of our deepest fears
• Rain = memories of myths
• Atmosphere and Mood
• Setting, it’s true – but that’s not all
• It’s never just rain/snow/sun/warmth/cold/sleet
• The Flood
• Drowning = one of our deepest fears
• Rain = memories of myths
• Atmosphere and Mood
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• Plot device – forces people together in confined spaces
• More mysterious, murkier, more isolating than any other weather conditions
• Misery factor
• It’s clean and dirty – a paradox
• Symbolic cleansing
• Restorative (association with Spring and Noah)
• Plot device – forces people together in confined spaces
• More mysterious, murkier, more isolating than any other weather conditions
• Misery factor
• It’s clean and dirty – a paradox
• Symbolic cleansing
• Restorative (association with Spring and Noah)
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• As a restorative, generally used ironically
• Rain = principal element of Spring
• Spring = season of renewal, hope, new awakenings
• Mixes with sun to make rainbows (Noah again)
• Fog = confusion
• Snow = anything (clean, severe, warm, inhospitable, playful, suffocating
• As a restorative, generally used ironically
• Rain = principal element of Spring
• Spring = season of renewal, hope, new awakenings
• Mixes with sun to make rainbows (Noah again)
• Fog = confusion
• Snow = anything (clean, severe, warm, inhospitable, playful, suffocating
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…More Than It’s Gonna Hurt You: Concerning Violence
…More Than It’s Gonna Hurt You: Concerning Violence
• Violence = one of the most personal and intimate acts between human beings
• Cultural and Societal implications
• Symbolic, thematic, biblical, Shakespearean, Romantic, allegorical, transcendent
• Balanced (physics)
• Violence = one of the most personal and intimate acts between human beings
• Cultural and Societal implications
• Symbolic, thematic, biblical, Shakespearean, Romantic, allegorical, transcendent
• Balanced (physics)
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• Violence in literature = literal and usually means something else
• Encodes a broader point about the hostile/essentially uncaring relationship we have with the universe
• Everywhere in literature
• 2 categories: specific injury (characters do to each other) and narrative violence (causes characters harm in general)
• Violence in literature = literal and usually means something else
• Encodes a broader point about the hostile/essentially uncaring relationship we have with the universe
• Everywhere in literature
• 2 categories: specific injury (characters do to each other) and narrative violence (causes characters harm in general)
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• Authorial Violence = death and suffering introduced in the interest of plot advancement or thematic development
• Writers kill of characters to:– Make action happen– Cause plot complications– End plot complications– Put other characters under stress
• Authorial Violence = death and suffering introduced in the interest of plot advancement or thematic development
• Writers kill of characters to:– Make action happen– Cause plot complications– End plot complications– Put other characters under stress
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• Violence = a symbolic action
• Accidents happen in real life – in literature, accidents are no accident
• Nearly impossible to generalize about meanings
• No easy, cut-and-paste answers, but ask the following questions:– What does it represent thematically?– What famous mythic death does it resemble?– Why this sort of violence and not some other?
• Violence = a symbolic action
• Accidents happen in real life – in literature, accidents are no accident
• Nearly impossible to generalize about meanings
• No easy, cut-and-paste answers, but ask the following questions:– What does it represent thematically?– What famous mythic death does it resemble?– Why this sort of violence and not some other?
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Is That a Symbol?Is That a Symbol?• Yes, it is
• What does it mean? What does it stand for?
• What do YOU think?
• Symbols don’t necessarily mean one thing only (ok, some do, but most don’t)
• Yes, it is
• What does it mean? What does it stand for?
• What do YOU think?
• Symbols don’t necessarily mean one thing only (ok, some do, but most don’t)
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• If a symbol can stand for only one thing, then it’s not a symbol – it’s an allegory
• Symbols involve a range of possible meanings and interpretations
• Symbols depend upon how we engage the text
• Each reader is unique, bringing our individual history to the table
• If a symbol can stand for only one thing, then it’s not a symbol – it’s an allegory
• Symbols involve a range of possible meanings and interpretations
• Symbols depend upon how we engage the text
• Each reader is unique, bringing our individual history to the table
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• Readers expect symbols to be objects and images only
• Events and/or actions can be symbols too
• So how do we figure out symbols?– Break down the text– Ask questions of the text
• What’s the writer doing with this image/object/act?
• What possibilities are suggested?
• What does it feel like it’s doing?
• Readers expect symbols to be objects and images only
• Events and/or actions can be symbols too
• So how do we figure out symbols?– Break down the text– Ask questions of the text
• What’s the writer doing with this image/object/act?
• What possibilities are suggested?
• What does it feel like it’s doing?
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• Reading literature = highly intellectual activity
• Also involves affect and instinct
• READING LITERATURE IS AN ACTION, ALIVE AND FLUID!
• Reading is an event of the imagination
• The act of one creative intelligence engaging another
• Reading literature = highly intellectual activity
• Also involves affect and instinct
• READING LITERATURE IS AN ACTION, ALIVE AND FLUID!
• Reading is an event of the imagination
• The act of one creative intelligence engaging another
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Geography MattersGeography Matters• What does it mean….
– Where a character goes– Where a character dies– Where the location of the action is
• What does geography mean to a work of literature?
• Frequently…….everything
• What does it mean….– Where a character goes– Where a character dies– Where the location of the action is
• What does geography mean to a work of literature?
• Frequently…….everything
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• So what is geography?– Literal– People
• Literary geography– Humans inhabiting spaces– And the spaces that inhabit humans
• Geography is setting– Psychological, attitude, finance, industry– Anything that place can forge in the people
who live there
• So what is geography?– Literal– People
• Literary geography– Humans inhabiting spaces– And the spaces that inhabit humans
• Geography is setting– Psychological, attitude, finance, industry– Anything that place can forge in the people
who live there
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• Can be revelatory of literary elements– Theme– Symbol– Plot
• Can define or develop character
• Can be character
• Play a specific plot role
• A general rule: when writer’s send characters south, it’s so they can run amok
• Can be revelatory of literary elements– Theme– Symbol– Plot
• Can define or develop character
• Can be character
• Play a specific plot role
• A general rule: when writer’s send characters south, it’s so they can run amok
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• Hills and valleys have their own logic– Up and down– High and low
• Not matter where – places matter
• It’s not just setting– It’s place, space, and shape– Giving us psychology, history, and dynamism
• Hills and valleys have their own logic– Up and down– High and low
• Not matter where – places matter
• It’s not just setting– It’s place, space, and shape– Giving us psychology, history, and dynamism
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…So Does Season…So Does Season• I’m skipping this one – you already
know what I’m going to say.
• And if you don’t, refer back to chapter 10 and rain.
• I’m skipping this one – you already know what I’m going to say.
• And if you don’t, refer back to chapter 10 and rain.
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Don’t Read With Your EyesDon’t Read With Your Eyes• Don’t read only from your own fixed
position
• Find a reading perspective that– Allows for sympathy with the historical
moment of the story– Understands the text as having been written
against it’s own social, historical, cultural, and personal background
• Don’t read only from your own fixed position
• Find a reading perspective that– Allows for sympathy with the historical
moment of the story– Understands the text as having been written
against it’s own social, historical, cultural, and personal background
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• Professional reading = danger
• Deconstruction
• Pushes skepticism and doubt to extremes
• Questions everything in a story or poem
• Goal of deconstruction is to see how the work is controlled and reduced by the values and prejudices of its time
• Professional reading = danger
• Deconstruction
• Pushes skepticism and doubt to extremes
• Questions everything in a story or poem
• Goal of deconstruction is to see how the work is controlled and reduced by the values and prejudices of its time
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DANGER!!!!!!!
Deconstruction can take away or enjoyment of the text
DANGER!!!!!!!
Deconstruction can take away or enjoyment of the text
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• The reader’s perspective matters
• Active reading
• Engaging our imagination
• Danger = too much acceptance of the author’s viewpoint can lead to problems
• Strong readers/good analyzers are– able to see things from different perspectives– Be confident in their analysis– Able to enjoy reading because of/in spite of
deep/intense analysis
• The reader’s perspective matters
• Active reading
• Engaging our imagination
• Danger = too much acceptance of the author’s viewpoint can lead to problems
• Strong readers/good analyzers are– able to see things from different perspectives– Be confident in their analysis– Able to enjoy reading because of/in spite of
deep/intense analysis