Practices Of Looking Chapter 1 Summary

Regardless of personal beliefs or opinions, it is nearly impossible to imagine the existence of modern English literature without the influence of religion. Since the dawn of recorded history, religion has played a vital, recurring role in works of fact and fiction, alike. In his book How to Read Literature Like a Professor, author Thomas Foster asserts several points about this relationship between religion and literature, especially in relation to the image of Christ, and states, “Culture is so influenced by its dominant religious systems that whether a writer adheres to the beliefs or not, the values and principles of those religions will inevitably inform the literary work” (125).

-We have to carefully compare and contrast all parts of the sonnet in order to see the deeper meaning that all sonnets hold.

This Side of Paradise by F. Scott Fitzgerald is an extremely renowned coming of age novel. It portrays life in the roaring 20’s, following the life of a young Amory Blaine. Amory faces obstacles from devastation by wealthy women to fighting in World War I and losing some of his closest friends. Reading How to Read Literature Like a Professor by Thomas C. Foster emphasized the main ideas throughout Amory’s life. The two main ideas that stood out in Fitzgerald’s book, was the quest taken by Amory Blaine and what Foster calls “baptisms” throughout the story.

In Thomas Foster’s book, How to Read Literature Like a Professor, it is written that there are five aspects of a quest: “the quester; a place to go; a stated reason to go there; challenges and trials en route; a real reason to go there” (Foster 3). In the book The Poisonwood Bible, the Price family were the questers going to the Congo to bring Christianity to the villagers. During their stay at the Congo, they faced hate, disease, violence, and even the death of Ruth May. Although the whole family was attempting to bring Christianity to the villagers, Nathan Price’s real goal was to baptize all the villagers.

The first chapter of How to Read Literature Like a Professor by Thomas Foster is about the hero’s quest. Foster starts the chapter with a fictious example of a story with a protagonist called Kip that although on the surface seems like a search for bread, is actually an example of a knight’s encounter with nemesis, a quest. He then goes on to discuss the five components of a quest and how the parts often vary and are hidden in different forms. One of the primary take-aways from the chapter however is how the real reason for a quest is never the one stated but rather self-knowledge, the idea that the purpose for the quest is ultimately not the stated reason but rather a quest of education. Foster argues that the stated reason is more of an excuse for embarking on the quest, rather than the end goal and discusses

The first chapter of Thomas C. Foster’s guide to finding symbolism and motifs in literature, How To Read Literature Like a Professor, details the literary plot device of a quest and how to identify one in a novel. He introduces the chapter by explaining how a seemingly normal trip to the grocery store is a quest because it is structurally a quest. The hero, a boy named Kip, like every other hero in a quest, confronts various trials (his jealousy of another boy and his rejection by the girl he likes) in search of a “Holy Grail” (a loaf of bread). According to Foster, there are five components of a quest, all of which can be found in Kip’s story. The first structural component is the quester, or the character who is undertaking the quest, consciously or not. This character is known as the hero or heroine of the story, which in this case is Kip. The second and third elements are the “declared” purpose of the quest: a location that the hero must travel to and a reason to go there, which would be Kip’s search for a loaf of bread at the grocery store. Sometimes,

In Chapter One of How to Read Literature Like a Professor, Foster begins with an example of a situation that a boy, Kip, encounters. He goes to the local A&P in order to pick up bread for his mother, however comes in contact with several obstacles. Although this seems like just a trip to the store, Kip in reality was on a quest. Foster then goes on to explain the five parts of a quest—a quester, a place to go, a stated reason to go there, challenges and trials en route, and a real reason to go there. When a person goes on a quest, they often discover something different than what was intended. In the story about Kip, Kip’s quest was to pick up white bread. On the way, he encounters a German shepherd and then spots the girl of his dreams in

How to Read Literature like a Professor Annotations Chapter 1 Every Trip Is a Quest (Except When It’s Not) Summary: Challenges must be faced during/on the path to the destination. Commentary: you must learn self reliance before relying on others (pg 5) Commentary: There will always be someone who tries to contradict what someone says to get their point across.

Our Quester: A young boy who isn’t happy with his life living at home with his large family.

Jose de Alvare AP LIT Dr. Busse 08/14/17 How to Read Literature Like a Professor: by Thomas C. Foster Chapter 1-- Every Trip Is a Quest (Except When It's Not) The five parts of a QUEST are The five aspects of the quest are: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, (e) a real reason to go there. a quester - Percy Jackson a place to go - the underworld and mount olympus The stated reason to go there - to retrieve the stolen lightning bolt from Hades in the underworld for Zeus and to save his mother Challenges and trials en route - On his way to the underworld he has to face Medusa in New York , the Hydra and the Lotus Eaters in a Las Vegas casino. He also has to face Luke attempting to steal the lightning bolt and attempting to kill him.

Predictions: My predicted of this chapter was that it was going to say the same thing that I was thinking. But guess not. But as I started reading further into the book it give you some interest ways to so what or who care. But my real prediction was that the writer of this book” they say I say “was give us permission to literally saying who care and starting an argument with the writer of the book.

Currently in my book "How We Decide" Lehrer still explains the concept of the Frontal Cortex. He goes and talks about how the frontal part of the brain affects the brain in lifesaving scenarios. Lehrer tells in the book that the more knowledge someone has on something the better. He calls forth upon a firefighter that goes on a helicopter and drops down onto the land that's on fire and puts it out. This veteran firefighter names Wage Dodge was caught in a mix up. The fire was getting worse and his young crew of kids and himself was trapped with no place to go. Dodge knew he wasn't going to make it so he used his skills. As the crew of young kids were running he had to think of a plan. Dodge made another fire and laid in the burnt grass. The original fire went around

Nice To Eat With You: Acts of Communion (Chapter Two) from How to Read Literature Like A Professor expressed that literary communion is always written deliberately to show an act between friends and can be used as a way to bring characters together or to tear them apart. The chapter talked about how everyone shares at least one thing in common, which is death, and how once you recognize that it's smooth sailing. That next to mortality all of our differences are tiny details that play a big factor in how different all of our lives our when compared next to each other.

“Social media makes the community part of the actual crisis communication response. For example…Twitter was used to quickly share initial information and updates during the 2007 and 2008 California wildfires, 2008 Mumbai massacre, 2009 crash of US Airways Flight 1549, 2010 Haiti earthquake, and 2011 Tunisian uprising.” This information, again in Veil’s 2011 article, reinforces the idea of how social media communication is highly beneficial and furthers an individual’s ability to remain informed on current events.

They use “...the bombings to lay claim to a stake in tragedy — to seem altruistic and deep, to garner sympathy and respect.” People who are not personally affected by the event speak as though they are. They speak with anguish; however their words are meaningless to the true horror that the people of Paris have experienced. Quite honestly, they have no right to be taking to social media when others are mourning the loss of their friends, siblings, mothers, and fathers. Social media is a platform used to construct an impression of yourself for others to see. To seem as though you are a political activist, a humanitarian, a devout Christian, or a well-informed citizen. Tragedies and losses of life have been exploited for self-benefit. “If you want to make a difference in the face of attacks like these, if you want to be a politically and socially active global citizen, it doesn’t start with a Twitter rant” (Vale). If someone truly wants to support and encourage France, it does not start with this. The death of hundreds of people cannot be blanketed with the colors of the French flag. These are real people who died, their flag has nothing to do with them. They were French but that is not what makes their life important to their loved ones (Dunham). Facebook, and social media in general, has allowed users to believe that they are doing something for France. They believe that by changing their profile picture, they are providing support. But this is not what the people of France need. Your profile picture does not bring their loved ones back. It does not put their torn lives together. It does not fill the bullet holes on their walls, nor does it fix the broken glass. This has blinded people to believe that they are doing something for France, when in reality, they need much more than hashtags and profile