The Educated Imagination

In order for the imagination to be most effectively educated, the study of literature must begin at its centre, being poetry and mythology, according to Frye in Chapter V: Verticals of Adam. Frye conveys his belief that the first form of

An intriguing point in this chapter is that Frye proposes that literature is neither real nor unreal. Literature has been around seemingly forever, however, distinguishing between the “real” literature and the “unreal” would serve as the key concept to this chapter. Literature is real because since it is directly derived from human experience. This makes

The value of literature delineates an opportunity for humanity to achieve collective growth. The intellectual capability of both individuals and communities are affected by the importance assigned to literary works. Lack of such regard results in a limited capacity for sociological cohesion consequently shaping the discourse of an era. Austen inadvertently expresses the minimal regard for written material in her society through Pride and Prejudice. The exclamation “there is no enjoyment like reading!” highlights the passion felt for such an activity. However, this desire can be attributed to discourse. Austen exhibits this through the cultural expectation that a woman “must have thorough knowledge”, furthered by the dialogue of gaining cognizance

Literature is such a beautiful thing because it does not give us an answer to it's questions. There are so many iffy spots that leave us to develop our own thoughts and feelings toward the piece of work. This is an interesting factor because at many times it affects us in a different way and can develop us as an individual. When reading a piece of literature, one person can interpret it in different ways than another person reading the same piece of work. I remember analyzing poems with my English class in the previous years and when we were asked to interpret it, we all had different answers. Sometimes what I got out of the poem didn’t even go close to the direction that my classmate

Literature is an essential part of the center of a person’s life. It provides a certain assurance and “feeds the soul” of one. Whether it be a book, TV, or even an advertisement, literature exists everywhere. A person is able to develop many skills by studying literature, and expand the horizon of their learning. An immeasurable amount of insight and knowledge can be gained from the study of literature which contributes in providing readers with an understanding of the past, and a philosophical assimilation of the moral behind a writing piece.

Thomas Foster’s How to Read Literature Like a Professor begins with an introduction that provides a framework for the next five chapters. The author explains that any story can fit into a general, archetypical theme, and he spends the first five chapters of his book speaking on these critically prevalent themes.

In my Rhetoric and Genre essay on, Ella Minnow Pea by Mark Dunn I honestly tried my best to explain how the use of genre was ideal to explain Dunn’s rhetoric in the book. I started of by bringing out what I believe were the main points that Dunn wanted to get to his readers. This points being the importance of critical thinking, communication and language and what would happen if we lacked on each of them. When it came to writing on why I believed these points were best told in an epistolary genre was without a doubt a challenge for me. Not because I did not believe that this points were best brought up through this genre but because it was became very difficult for me to explain myself.

When a novel is revealing, witty and whimsical it unlocks the hidden truths about literature as discussed in the book How To Read Literature Like a Professor by Thomas Foster. This book is written in second person so the reader can experience Foster’s personality that is directed towards them. A reader is given a fresh and clear perception on literature to understand what is being read. Foster clarifies the way writers uses symbols and themes. He believes by analyzing the deeper meaning in literature will help foster a better reader.

Sociological imagination is merely the connection between a person and the society. Every person is connected to and influenced by society to a different extent. Some people are completely absorbed in society and feel obligated to keep up with the trends, or else they feel like an outlier. On the other hand, some people do not keep up with the trends of society because they could care less about others opinions. Sociological imagination can be used to show the relationship between both those types of people and the society, and it can be used to explain how people view society from their point of view. When people look at societies from an outsider’s point of view, “rather than only from the perspective of personal experiences and cultural biases” (Schaefer 4), they are able to notice the things that shape and mold their character. The outsider perspective also provides them with a better understanding of themselves by understanding the relationship between them and society.

In Nabokov’s 1948 “Good Readers and Good Writers,” the reader has the opportunity to view the possibilities of a beautiful collision of a major reader and a major writer. This piece discusses reading and writing: skills that have become standardized and slightly devalued as education has advanced. Literacy has become so expected that little thought is put into what defines a good reader or writer; Nabokov tackles this idea head on. Nabokov’s intention of this piece is to passionately display a relationship that is formed between a good reader and a good writer, and the essential need for an open mind. He stresses the vitality of understanding instead of immediately identifying when reading;

Occasionally everyone has suffered from depression, weather it was long term or short term. Feeling hopelessness, irritablity, or feeling anxious or “empty” these symptoms can greatly effect people’s daily routines. Suddenly, waking up in the morning, trying to fall asleep or simply interacting with other people becomes one of the most difficult challenges. Depression can be cause by many things such as financial issues, relationship problems, family problems or an individual just may not be happy. Although, if this person uses their social imagination it may be a little easier for them to cope with their depression. Looking at their problems in a more general perspective helps them realize they are not alone and these are daily problems

Ralph Ellison takes both art and the novel seriously. And the Café de la Mairie has a tradition of seriousness behind it, for here was written Djuna Barnes’s spectacular novel, Nightwood. There is a tradition, too, of speech and eloquence, for Miss Barnes’s hero, Dr. O’Connor, often drew a crowd of listeners to his mighty rhetoric. So here gravity is in the air, and rhetoric too. While Mr. Ellison speaks, he rarely pauses, and although the strain of organizing his thought is sometimes evident, his phraseology and the quiet, steady flow and development of ideas are overwhelming. To listen to him is rather like sitting in the back of a huge hall and feeling the lecturer’s faraway eyes staring directly into your own. The highly emphatic, almost

Iris Murdoch interview with Magee focuses on the question of whether or not philosophy has a place in literature. Murdoch asserts it doesn’t, given her interpretations that the two styles of writing aim at different intentions. Literature aims to entertain, whereas philosophy clarifies and explains (230). However, both literature and philosophy possess commonalities such as the trait of truth-seeking (235). Murdoch undermines literature on the account of its broad artistic structure that vaguely delivers the intended message, and must be interpreted to understand the author’s directive aim, philosophy is the contrary. This shifts her argument towards the conclusion that the stylistic writing of literature shouldn’t have a place in philosophy.

Throughout twenty-centuries ago, writers thought that ordinary language and literary language were two different languages. But this is an analytical assumption. There is only one language, which

Susan Wise Bauer in the informational book, “The Well Educated Mind: A Guide to the Classical Education You Never Had (2009),” informs the reader that everyone is capable of reading with a deeper understanding, no matter the level of education they have or haven’t received. Wise Bauer supports her statement by reminding the audience that this form of reading isn’t being exposed to the public as much and how it has been forgotten and how useful it is to use to understand difficult classic texts. The author’s purpose is to educate the reader the three easy steps, which are to comprehend, evaluate, and create a reasonable response to the text, so that the reader can have a deeper insight on classic readings, for example, like the works of Henry