The Light On Daisy

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.

Connie starts out in the story as someone that is self-absorbed, concerned for no one but herself. Arnold Friend is really the same way. He tells her that he saw her “that night and thought, that’s the one” (Oates 480). In spite of the words he uses, the reader knows that Arnold does not have any true feelings for Connie because he says “My sweet little blue-eyed girl” (Oates 483). Arnold is oblivious to the fact that Connie has brown eyes. “In Arnold’s view, Connie’s personal identity is totally unimportant” (Wegs 3).

How does the context of the novel affect the way this value or idea is represented

Literature work always has some lesson for the people that could even leave a thought-provoking effect on their lives and compel them to understand the reality of the world. However, there are some people, who just read literature as a source of entertainment, but the real meaning, of the reading or encountering any literature work, is realized when a reader understands a message. Which writer intends to give to a reader. It is because the literature work has a connection, in addition, influence on the character building process.

In the story “Where Are You Going, Where Have You Been” Connie, the main character, is already struggling with many things in life and sneaks her way to date guys. There was also conflicting between her and her mother due to her mother favoring her sister, June and describing her as someone who is a good example of what she wants Connie to be. Her father is never at home due to work and when he is home, the girls do not relate to him. Arnold Friend is described as a dangerous figure with his pale complexion and his slick black hair looking like trouble by not presenting himself in a pleasing way to Connie, by not walking properly. This was an indication on how he was not in the right state of mind and how Arnold shouldn’t be near Connie. There was one scene in the story where Arnold Friend shows up, uninvited, notifying Connie that he is not a friend, but has come to take her away from her home to possibly kidnap her. "Connie felt a wave of dizziness, rise in her at this sight and she stared at him as if waiting for something to change the shock of the moment, make it alright again”. Connie feels safe in the house and does not come out until Arnold convinces and demands her that she come out. Things took an unpleasant twist when Arnold tells Connie not use the phone or he will break his promise of not coming in the house

“Works of literature often depict acts of betrayal. Friends and even family may betray a protagonist; main character may likewise be guilty of treachery of may betray their own values.”

Prompt: The novel contains many literary elements and references to different works of literature, how do these convey the themes of the novel?

In Nathaniel Hawthorne’s The Scarlet Letter, symbolsim is constantly present in the actual scarlet letter “A” as it is viewed as a symbol of sin and the gradally changes its meanign, guilt is also a mejore symbol, and Pearl’s role in this novel is symbolic as well. The Scarlet Letter includes many profound and crucial symbols. these devices of symbolism are best portayed in the novel, most noticably through the letter “A” best exemplifies the changes in the symbolic meaning throughout the novel.

1. Foster refers to “language of reading” as the set of rules readers used to analyze the piece of writing. He believes that readers must be alert of the real intentions of the writing by following three important items: memory, symbol, and pattern. As the word suggests memory means remembering information, for instance, professors have the ability to associate the reading to a previous work they had read. In the same way, readers have to be aware of a symbol in which they can “predispose to see things presented how they are but also simultaneously they can represent something completely different.” In the chapters devoted to the symbol, he selected motives such as food in the sense of communion or drowning, to train the reader to forecast by the appearance of these and other elements with the idea of encouraging their “symbolic imagination.” On the other hand, a pattern is a phenomenon that permits us to predict what will happen in the story by comparing it to other pieces of work. This last item, it is strictly related to “symbolic imagination”, because from this ability to detach of the story “and look beyond” the next pages it results pattern recognition. Overall, we can say that memory, symbol, and pattern are significant for the “language of reading” due to the increase these items caused for a better

In the short fiction Where Are You Going, Where Have You Been? tells a story about a young 15-year-old girl named, Connie. Connie spends her time meeting boys, lounging around the house and going out with her friends. One night an unusual man makes a threatening gesture to her in the parking lot of a local drive-in restaurant. Until, one day the unusual man pulls up in her driveway in a gold colored car. The man introduces himself as Arnold Friend and asks Connie to join him for a ride. During their conversation, Connie is aware that Arnold is dangerous; his language becomes more sexual and violent, and he warns her that he will hurt her family if she calls the police. In the end, she leaves the house and joins Arnold. Connie is stuck between the lines of her sexual daydreams and reality up until she is entangled among by Arnold Friend and his infatuating music playing in his car. Everything about her had two aspects to it, one when she was at home and one for anywhere but home.

Analyzing Connie, the female protagonist in “Where Are You Going, Where Have You Been?” reveals the character’s journey of rebellion, a search for identity, and the protagonist’s psychological problems. Connie appears to be a seemingly normal teenage female during the first few sentences: fifteen years old, physically beautiful, and appears semi-narcissistic. As one reads on, underlying psychological issues begin to unearth themselves. Connie has a habit of needing to know that she is beautiful; she is continuously “…craning her neck to glance into mirrors…checking other people’s faces to make sure hers was alright.” (Perrine’s 487) Being a somewhat typical habit of teenage girls, always wanting to look at themselves, whether it is out of admiration or self-judgment, Connie is constantly aware of herself and appearance, despite her mother’s nagging. In “Where Are You Going, Where Have You Been?” this appears to be an indication of a present insecurity, a lack of a sense of who Connie is. In the first paragraph, Connie describes beauty as “being everything” (Perrine’s 487); we are able to interpret the fact that without her beauty, Connie would be nothing. She continuously attempts to establish her own identity; she tests the boundaries with her parents, develops a separate persona when she is away from home, and searches out approval from older boys at the drive-in. This lack of self eventually plays a part in leaving with Arnold Friend, at the end of the story.

If literature isn’t Shakespearean or biblical, it is political. Foster wrote this chapter to convey to the readers that almost every story is inspired by the political problems that is around the writer. For example, a very old, and popular story, “The Christmas Carol.” Foster claims that the tale was really an attack to a widely taken political belief at the time. There are two different types of political writing. One is “I hate “political” writing,” this is the type that Foster dislikes because of their “primary intents to influence the

Foremost, however, this light greatly influences the characterization of Gatsby. In Chapter 1, when Gatsby reaches for the light, the reader becomes confused and does not know what to make of this strange man oddly extending his arms while no one is around. After understanding Gatsby’s past, though, and knowing what it is he is reaching for, the reader can deduce much about Gatsby’s character from this action. By reaching out for his dream, Gatsby shows his determination to win Daisy back; this solitary motion demonstrates his level of commitment to her. After realizing this, the reader can also begin to associate more of Gatsby’s actions, such as his gain of wealth, with the American dream because it is understood that the quest for Daisy is closely tied in with this theme (21). After this event with Gatsby, Fitzgerald chooses to focus on another peculiar object, Doctor T.J. Eckleburg’s eyes. It is this unusual amount of attention given to such a solitary entity that alerts the reader that a deeper meaning may exist than what the author expresses.

James' manipulation of appearances in Daisy Miller as well as other character's notions of these appearances provides us with a novella of enigmatic and fascinating characters. Daisy, the most complicated of these ambiguities, is as mysterious as she is flirtatious. James gives her a carefully constructed enigmatic quality that leaves the reader wondering what her motivations were and who she truly was. He structures the novella in such a way as to stress the insights that the supporting characters provide into Daisy's character, weather accurate or erroneous. Despite their questionable reliability, they allow James to make commentary on both European and American cultures and social class.

Austen has set out to save the rising art form of the novel. In this address to the reader she glorifies what a novel should be: the unrestrained expression of words conveying the wide range of raw human emotion. This veneration of the novel is necessary to the development of Catherine's fiction-loving character as it justifies the narrator's right to remain fond of this flawed heroine.