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- https://human.libretexts.org/Courses/Diablo_Valley_College/Critical_Thinking_and_Literature_(Schmidt)/04%3A_The_Writing_Process/4.03%3A_Prewriting_for_Literature_EssaysThe story is familiar by now: the Hemingway hero loses some version of his maleness to the first World War and he replaces it with a tool—in Upper Michigan, a fishing rod or a pocket knife; in Africa,...The story is familiar by now: the Hemingway hero loses some version of his maleness to the first World War and he replaces it with a tool—in Upper Michigan, a fishing rod or a pocket knife; in Africa, a hunting rifle—a new object that emblematizes his mastery over his surroundings and whose status as a fetishized commodity and Freudian symbolic significance is something less than subtle.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/04%3A_About_Poetry/4.12%3A_Figurative_LanguageThus, an apparently objective scientific term like elasticity, on the one hand, and the metaphysical abstract on the other, are both traceable to verbs meaning “draw” or “drag.” Centrifugal and centri...Thus, an apparently objective scientific term like elasticity, on the one hand, and the metaphysical abstract on the other, are both traceable to verbs meaning “draw” or “drag.” Centrifugal and centripetal are composed of a noun meaning “a goad” and verbs signifying “to flee” and “to seek” respectively; epithet, theme, thesis, anathema, hypothesis, etc., go back to a Greek verb, “to put,” and even right and wrong, it seems, once had the meaning “stretched” and so “straight” and “wringing” or “s…
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/04%3A_About_Poetry/4.08%3A_Sound_in_Poetry-_RhymeIt is worth telling you too that each of the stanzas ends with a variation of the line "I would that I were dead" (this is known as a refrain) so—as in Christina Rossetti’s "Love From the North"—a dom...It is worth telling you too that each of the stanzas ends with a variation of the line "I would that I were dead" (this is known as a refrain) so—as in Christina Rossetti’s "Love From the North"—a dominant sound or series of sounds throughout helps to control the mood of the poem.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/02%3A_About_Fiction/2.06%3A_PlotYou can think of the rising action as the series of events that make the climax of the story possible. These events show the results of the climax, and they act as a bridge between the climax and the ...You can think of the rising action as the series of events that make the climax of the story possible. These events show the results of the climax, and they act as a bridge between the climax and the dénouement. Thus, we can see the dénouement as a kind of mirror to the exposition, showing us the same situation at both the beginning and end of a story.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/04%3A_About_Poetry/4.05%3A_The_Line_in_PoetryShe is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day ab...She is older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in deep seas, and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants: and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments…
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/02%3A_About_Fiction/2.03%3A_How_to_Read_FictionThe ultimate reading experience comes as a result of the collaboration between the writer and the reader; they both will have to contribute for the reading experience to be a success. The first thing ...The ultimate reading experience comes as a result of the collaboration between the writer and the reader; they both will have to contribute for the reading experience to be a success. The first thing we do when we read a novel is to experience it, that is to say, we respond to the development of the narrative and the characters presented to us.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/02%3A_About_Fiction/2.09%3A_SettingHe describes himself as "handcuffed to history" by the circumstances of his birth, and, as I suggested earlier, we are alerted to the possibility of a story to come which will have historical and poli...He describes himself as "handcuffed to history" by the circumstances of his birth, and, as I suggested earlier, we are alerted to the possibility of a story to come which will have historical and political associations, reinforced by the assertion that the narrator's "destinies" were "indissolubly chained" to the future of his country.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/02%3A_About_FictionLearning Objectives By the end of this chapter, students should be able to: explain the difference between fiction and non-fiction, short stories and novels. describe the key elements of fiction. disc...Learning Objectives By the end of this chapter, students should be able to: explain the difference between fiction and non-fiction, short stories and novels. describe the key elements of fiction. discuss the meanings of “tone,” “diction,” and “syntax." identify the major elements of a plot. identify character, setting, and theme. differentiate between internal and external conflict.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/01%3A_Introduction/1.09%3A_The_Literary_Landscape-_Four_Major_GenresInstead, the drop was left in a second silver grey once more, and the light now settled upon the flesh of a leaf, revealing the branching thread of fibre beneath the surface, and again it moved on and...Instead, the drop was left in a second silver grey once more, and the light now settled upon the flesh of a leaf, revealing the branching thread of fibre beneath the surface, and again it moved on and spread its illumination in the vast green spaces beneath the dome of the heart-shaped and tongue-shaped leaves.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/01%3A_IntroductionThis page provides an introduction to literature and literary style and encourages students to think about the role literature plays in their lives.
- https://human.libretexts.org/Courses/Oxnard_College/Introduction_to_Literature_and_Critical_Thinking/04%3A_About_Poetry/4.10%3A_Sound_in_Poetry-_MeterWhen Tennyson wrote "The Charge of the Light Brigade," he recreated the sound, pace, and movement of horses thundering along with the emphatic dactyls of "Half a league, half a league, half a league o...When Tennyson wrote "The Charge of the Light Brigade," he recreated the sound, pace, and movement of horses thundering along with the emphatic dactyls of "Half a league, half a league, half a league onward / Into the valley of death rode the six hundred." The rhythm not only highlights the key words in each line, but produces much of the emotional feeling of the poem by slowing down the middle words of the first line and the final three words of the second.
