Summary Of Chapter 14 How To Read Literature Like A Professor

In his book “How to Read Literature Like a Professor,” Thomas C. Foster provides a list of attributes that a fictional character may have if they are a symbolic Christ Figure in their story. The list consists of characteristics such as “very forgiving” and “came to redeem an unworthy world.” In Gabriel Garcia Marquez’s “A Very Old Man with Enormous Wings,” although the Old Man is thought to be an angel by the awe struck people around him, it is possible to claim that he is a Christ Figure. While the Old Man doesn’t turn water into wine, he seems to have something with the odd “miracles” occurring in the town. The Old Man’s ragged appearance is also an attribute that should be accounted for. Foster explains that “he’s dirty and unkempt and bug-ridden,

In the twelfth chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster provides various information on how to identify symbols throughout literature. The chapter stressed the individuality of identifying symbols, Foster mentions multiple times that “every reader’s experience of every work is unique, largely because each person will emphasize various elements to different degrees” (110). After learning this and also having read Extremely Loud and Incredibly Close by Jonathan Safran Foer, one thing that stood out was that the main character, Oskar, only has and only wears white clothes. Not only does Oskar often reference his various white clothes, including the white scarf that Grandma knitted

In the second chapter of Thomas C. Foster’s How to Read Literature Like a Professor, Foster discusses the intimacy of eating throughout literature and how readers should draw important information from a scene at the table. This chapter quickly establishes that “whenever people eat or drink together, it’s communion” (8). While the word communion is often associated with religious practices, Foster determines that in literary context, communion frequently refers to the close exchanging of intimate thoughts, feelings or actions. As the chapter progresses Foster begins to provide several reasons for why readers should pay attention to meal scenes, such as, “writing a meal scene is so difficult, and so inherently uninteresting that there really

In his book “How to Read Literature Like a Professor,” Thomas C. Foster explains that, when a fictional character is described by having a heart disease, there is almost always a sort of metaphorical meaning behind it. These metaphors will give the readers hints about the afflicted character’s true nature. Mrs. Mallard, the main character of Kate Chopin’s “The Story of an Hour” is a fine example of this. The very first sentence of the story explains that Mrs. Mallard was “afflicted with a heart trouble.” Other characters in the story, such as her sister and “late” husband’s friend, are inclined to treating her more gently than they would others. It can be argued that the deeper meaning to Mrs. Mallard’s heart trouble is her disloyalty to her

The recognition of patterns makes it much easier to read complicated literature because recognizing patterns will help you relate two or more pieces of literature together, therefore making it easier to understand and analyze the literature you are focused on. Patterns in literature can help the reader understand plots, settings, themes, and other literary elements. I greatly appreciated the novel, Brave New World because of how different the society in the novel was from the one I live in. Using the Signposts from Notice and Note, I was able to see contrast and contradictions that enhanced my understanding of the book. I noticed how I was expecting Bernard, in Brave New World to be just like everybody else in the novel but instead he was a “normal person” that felt normal human emotions, such as the longing for love, that the other characters just did not feel. He also felt isolated and alone. Bernard thinks in a way we were not expecting. Patterns such as this helped me, the reader, to better understand literary elements.

Authors tend to get very political in between the lines of their stories. In “How to Read Literature Like a Professor,” by Thomas C. Foster, there is a chapter that discusses about how almost every author gets political with their writing. “Nearly all writing is political on some level.” (“How to Read Literature Like a Professor” 118.) “Animal Farm,” “Narrative of the Life of Frederick Douglass: An American Slave,” and “Nature” are some examples that’ll be used to prove this point.

Chapter 14 is about how almost everything, in some form, is a Christ figure. The chapter gives a list to relate characters to. The list is 1. crucified, wounds in the hands, feet, side, and head 2. in agony 3. self-sacrificing 4. good with children 5.good with loaves, fishes, water, wine 6. thirty-three years of age when last seen 7. employed as a carpenter 8. known to use humble modes of transportation, feet or donkeys preferred 9. believed to have walked on water 10. often portrayed with arms outstretched 11.

Analysis: Compare chapter 23:How to Read Literature Like a professor-“it’s never just heart disease to part one chapter 15 of The fountainhead.

How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines by Thomas C. Foster is a book that explains there is more to literature than just a few words on a paper or a few pages in a book. Thomas Foster’s book portrays a relatable message to a wide based audience. This book is relatable for two reasons, the way it is written and the examples it uses. The book is written in a conversational manner, as if the reader was in a group discussion about books and writing. As for the examples, they are informative, descriptive, relative, and entertaining.

In the skillful novel, "How To Read Literature Like A Professor" by Thomas C. Foster, there is neither a protagonist nor antagonist. As a whole, the novel gives insights on how to pick up signs of symbolism, irony, and many other hidden details that are buried within the words of literature. Foster refers to many classis novels by classic authors to demonstrate the use of logic in writing. The novel is extremely educational, leaving many insightful questions and interpretations to the reader's opinion.

-Flight is freedom. When a character has the ability to fly they are free from the burdens of everyday life.

After finishing Albert Camus’ The Stranger, it is easy to see that I have read something similar to this work previously. I found myself able to correctly predict exactly what was going to happen to Meursault. This phenomenon is easily explained in Thomas Foster’s How to Read Literature Like a Professor. In Chapter 5 of Foster’s work, he discusses how the majority of literature really builds off other works of literature. The tale of someone that has a mediocre live goes through a redemption with himself is very similar to the tale of Buddha.

In Thomas Foster’s book, “How to Read Literature Like a Professor,” readers learn how to look past the surface of a literary work to find a deeper or hidden meaning. Writers use devices, such as symbolism, imagery, foreshadowing, irony and allusion to reveal these meanings. If these are overlooked, important aspects of the story can be lost. One literary device that Foster emphasizes in his book is allusion. Every story has elements of another story, and Foster devotes Chapters Four through Seven explaining the meaning of allusion in works by Shakespeare, the Bible, and fairy tales.

Every character that travels down a path, that encounters obstacles on their journey, that makes sacrificial decisions faces each of these components as they undertake a life-altering quest. Often times the hero ventures out to save someone or solve a problem, but in fact, their true journey is a search for self-knowledge. Through every obstacle and road-block along the way, the character discovers more about themselves and their true identity. Though they may have journeyed across great lands to accomplish their mission, the thing they were searching for was inside of them all along; the journey and challenges only helped to reveal their real character. As explained in Thomas C. Foster’s literary criticism, How to Read Literature Like a Professor,

Like in any typical hero movie, there is a call that the protagonist has to answer. In The Hunger Games, Katniss hears her calling when her sister, Prim is drawn to participate in the Hunger games. Knowing that Prim is definitely not a violent person, Katniss 's instincts kick in and she volunteers for her sister without