Symbolism In How To Read Literature Like A Professor Thomas Foster

1. In chapter eleven of his book How to Read Literature Like a Professor, Thomas Foster examines violence in literature, and particularly the way violence functions on multiple levels. Foster identifies two different kinds of violence in literature, and discusses how those two different kinds create different literal and literary meanings. By examining Foster's categories of violence in more detail, one can see how violence in literature serves as an important link between the internal events of a story and the story itself.

Indeed, the symbolic meanings of many of the people and things placed throughout the narrative depict certain attitudes and beliefs about Christianity and its religious system. Take for instance the Black box that is used in “The Lottery“. It is used as a representation of the

Symbolism is a major literary device that helps people see a book through symbols that often have a deeper meaning. A symbol is used to explain something in a different way, using images, objects, etc. instead of just saying it in words. As you search for a deeper meaning in a work of art or literature it can help you understand the author’s intentions and the deeper significance of a work. In Fahrenheit 451 by Ray Bradbury, symbols help reinforce the major themes of the book.

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

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.

Literary elements such as symbolism are found in almost any piece of writing. Symbolism is used to portray the deeper meaning of something by representing it with anything the writer chooses. In the short story, ¨Cathedral,¨ Raymond Carver uses many forms of symbolism to portray the different events and their meanings within his writing.

In the novel “How to Read Literature like a Professor” the author, Thomas Foster, analyzed and broke down many literary techniques and reoccurring themes in literature. One of the most widely used literary techniques as shown in the novel was Symbolism. Symbolism is heavily used in literature from precipitation and weather to politics, almost everything we read in literature is a form of symbolism.

“Sometimes the really scary bloodsuckers are entirely human” (Foster 18). In How To Read Literature Like a Professor, Foster argues that vampires in literature are not always actual vampires, but can be figurative as well: “Using other people to get what we want. Placing our desires above the needs of others...as long as people act toward their fellows in exploitative and selfish ways, the vampire will be” (Foster 22). In essence, Foster illustrates that the act of using others to attain one’s personal goal is analogous to a vampire sucking the blood out of it’s victim. Foer’s protagonist in Extremely Loud and Incredibly Close, Oskar, also shows these vampiric tendencies in his goal of learning about his father’s key. “‘Actually, I’m diabetic

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,

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.

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 Siddhartha, Siddhartha is the quester who is specifically in search for enlightenment through his wanderings. During his quest, he constantly endures internal unrest. Although Siddhartha searched for enlightenment, he really wanted all of his unsettled questions about his life answered.

In the book "How to Read Literature Like a Professor" by Thomas C. Foster, the first chapter is dedicated to explaining the aspects of a quest in literature. Using this chapter, entitled 'Every Trip is a Quest (Except When It's Not)' (page 1-6), the aspects in question can be related to the quest in "The Alchemist" by Paulo Coelho. The first aspect listed is 'a quester' or 'a person who goes on a quest' (page 3, HTRLLAP); within the first line of the main story, our quester is revealed. We learn that 'the boy's name [is] Santiago,' (page 3, Alchemist). The focus of the entire story is on him and his journey, so the first aspect is there. 'A place to go' (page 3, HTRLLAP) is the second aspect, a very pivotal component for the development of the story.

Many authors through time and through this day and age have used symbolism in their works. Critics may say there is too much symbolism in some works. There is never too much symbolism in a work. Symbolism enhances the characters, words, places, and objects to levels that a average work could not reach without the use of symbolism. The more symbolism an author uses, the more attached a reader becomes to the story. Look at August Wilson 's Gem Of the Ocean play. It is loaded with symbolism and has a deep meaning to the story. Every main character has something that symbolizes them. It shows the character 's back rounds and what they have been through.

Is it possible for an author to utilize so much symbolism that it captivates the reader to the extent of paralleling the tale with their own life? The principle of symbolism is quite evident in the story by Nathaniel Hawthorne, “Young Goodman Brown”. Nathaniel Hawthorn’s work is immersed with symbolism with most of it deriving from his Puritan beliefs. The themes of sin, guilt, innocence, and lust come forth through the uses of color symbolism as well as visual clues. All of these things are dealt with in everyday life in modern America. “His ability to create vivid and symbolic images that embody great moral questions appears strongly in his short stories.” (Bloom)

John Steinbeck’s “The Chrysanthemums” is a great short story filled with symbols. “Symbolism is the art or practice of using symbols especially by investing things with a symbolic meaning or by expressing the invisible or intangible by means of visible or sensuous representations: such as an artistic imitation or invention that is a method of revealing or suggesting immaterial, ideal, or otherwise intangible truth or states” (Symbolism, n.d.). Steinbeck used symbolism throughout this work to create emotions and meanings.