Analytical analysis and comparism of an everyday text with a literary text

Prior to high school, my experience of literature was limited to comics and short stories. I had never read a play or even come across the concept of literary devices. It was only recently that I encountered several ideas on the nature of literature. Specifically, the essay “The Ideal English Major” by Mark Edmundson brings up the intriguing idea that “some of us speak, others are spoken [by language].” It seemed obvious at first, but I now begin to understand how this could make the difference between a good book and a timeless classic, between an amazing author and a legend. There are different elements that separate those who speak from those who are spoken and the effect works that speak to us is much different. I came to the conclusion that what makes the difference between speaking and being spoken is one’s ability to use language creatively. Those who speak literature produce art. Their works are able to entertain educate and inspire us.

A Literary Analysis on Flanner O 'Connor 's “A Good Man is Hard to Find”

The appearance of the typography, through the use of capitalized letters, highlights the ads’ claims. Capital but, bolded letters, not only capture the audience's attention but also causes the audience to read the words at a slower pace. The typeface enables the audience to recall the

When a writer calls his work a romance, it need hardly be observed that he wishes to claim a certain latitude, both as to its fashion and material, which he would not have felt himself entitled to assume, had he professed to be writing a novel. The latter form of composition is presumed to aim at a very minute fidelity, not merely to the possible, but to the probable and ordinary course of man's experience. The former--while, as a work of art, it must rigidly subject itself to laws, and while it sins unpardonably so far as it may swerve aside from the truth of the human heart--has fairly a right to present that truth under circumstances, to a great extent, of the writer's own choosing or creation. If he think fit, also, he may so manage his atmospherical medium as to bring out or mellow the lights, and deepen and enrich the shadows, of the picture. ("Preface")

Tighe, M. (2006). "The Return of the Native": Self-Involvement Leads to Literary Judgment. The English Journal, 70(5), 30. http://dx.doi.org/10.2307/817365

When a writer picks up their pen and paper, begins one of the most personal and cathartic experiences in their lives, and forms this creation, this seemingly incoherent sets of words and phrases that, read without any critical thinking, any form of analysis or reflexion, can be easily misconstrued as worthless or empty. When one reads an author’s work, in any shape or form, what floats off of the ink of the paper and implants itself in our minds is the author’s personality, their style. Reading any of the greats, many would be able to spot the minute details that separates each author from another; whether it be their use of dialogue, their complex descriptions, their syntax, or their tone. When reading an excerpt of Hemingway’s A

During an age when Britain was producing more writing than perhaps ever before in its history; romantic writers such as Wordsworth and Coleridge place a large emphasis on nature and what impact this construct has on the mind and imagination, while modernist writers such as Hardy, Lawrence, and Yeats attempt to exercise a strong break from tradition. This ideal of “straying from the pack” creates a sense of bitterness and radical doubt throughout the modernist period, and thus, causes citizens living in this time to carry about their daily activities with doubt and pessimistic attitudes.

Paths we walk on define our lives. In reality, no path is well-footed or without obstacles, even if it seems so from outsider perspective. In literature, especially in poetry, what is written as a path may not be one in the most literal sense, but a metaphor for or an allegory to something not within grasp of the material world. To compare two pieces from different periods by different authors means not just to compare different styles and themes embedded in them, but different paths the authors, and by extension their characters, take. Moreover, how two different paths in entirely different contexts may, upon closer reading, seem as one path treated differently, becoming what it is because of the actions someone took. This essay brings forward

English literature, to some, is a nuisance. Having to read something over and over again just to understand the meaning, assigned books that need to be read by the end of the semester, it can get tiring to some. To me, however, it’s a whole new world. Different formats of writing excite me. Assigned reading is a way for me to understand and indulge myself into someone else’s imagination. It is like a journey I take, throughout each piece of literature, and once I start, I need more. “A great book should leave you with many experiences, and slightly exhausted at the end. You live several lives while reading.” (William Styron, Conversations with William Styron)

Literature can be discussed as the accepted ‘cannon’ or as texts which possess a quality so as to designate them literary in nature. The non-literary can have literary qualities and follow a model of story-telling precedent by traditional literature and yet not be considered works of literature themselves. As purported by Jonathan Culler’s theory, we define literature not only by the intrinsic qualities it holds which lend a work its literariness, but must question what purpose the text serves. There are key devices that compound to form what we classify as ‘literature’, such as: the foregrounding or spot-lighting of language, the integration of language, the aesthetic value of the text, whether or not the pieces fictional and as self-reflexive

My fascination with the English language had been rooted as far back as my youth. I had always most prominently noticed my endless interest in the English language. It was as if each word stroke to me, as if each string of sentence never fails to draw me into a trance. I am Alice, and likewise, the English language is my wonderland. The thick books with large letter strewn in patterns never once intimidated me. I read Jack Kerouac, and Sylvia Plath as soon as I knew how to read, for their novels had nefarious characters, thrilling denouement, doused in enviable lucidity. I fell in love with the English language, before I know what love is. Consequently, I had decided to study English language as to incite my skills in writing, and to refine my knowledge in the subject that I had so easily fall in love with.

There is a continuity between everyday creativity and literature that the creativity has many properties in relation to poetic features. There is a link between such everyday conversation and literature itself .

There are copious amounts of positive critiques over London’s extremely bountiful works. For example, “Danish critic Georg Brandes considered him the best of our new twentieth- century writer: ‘He was absolutely original and his style is singularly forcible and free from all

According to the ethnographic approach defined by Papen and Tusting (2006, p.312-359), creativity refers the production of something ‘new’ and ‘original’. In written language, creativeness should not be perceived as a decontextualised, individual activity or as being entirely shaped by context. It should be seen as being dependent on and emergent from the creative literacy practices through which texts are constructed because they are shaped by people, who in pursuit of their own

There is no doubt in the dictum what French critic Buffon asserted long ago ‘l style est l home meme’ (‘style is the man himself ’). Though the dictum became a cliche in the arena of twenty-first century English studies, yet the dictum has its resonance in Upmanyu Chatterjee. Generally the students of literature begin their respective English studies at the graduate and post-graduate levels with Francis Bacon who happens to be the most economical writer till now (in respect of word-placement and syntactical pattern) in English literature.