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ELT 322 Week 1 3 Coverage
ELT 322 Week 1 3 Coverage
Big Picture
Week 1-3: Unit Learning Outcomes (ULO): At the end of the unit, you are expected to
a. Provide concrete examples and evidences on the nature of literature through analysis and critics;
Big Picture in Focus: ULOa. Provide concrete examples and evidences on the nature
of literature through analysis and critics.
Metalanguage
In this section, the most essential terms relevant to the study of literary criticism and to demonstrate
ULOa will be operationally defined to establish a common frame of reference as to how the texts work in
your chosen field or career. You will encounter these terms as we go through the study of literature. Please
refer to these definitions in case you will encounter difficulty in the in understanding educational concepts.
A literary device is any specific aspect of literature, or a particular work, which we can recognize, identify,
interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices.
Literary techniques are specific, deliberate constructions of language which an author uses to convey
meaning. An author‘s use of a literary technique usually occurs with a single word or phrase, or a particular
group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not
necessarily present in every text.
Essential Knowledge
To perform the aforesaid big picture (unit learning outcomes) for the first three (3) weeks of the
course, you need to fully understand the following essential knowledge that will be laid down in the
succeeding pages. Please note that you are not limited to exclusively refer to the resources. Thus, you are
expected to utilize other books, research articles and other resources that are available in the university‘s
library e.g. e-library, search.proquest.com etc.
Literature, a body of written works. The name has traditionally been applied to those imaginative works of
poetry and prose distinguished by the intentions of their authors and the perceived aesthetic excellence of their
execution. Literature may be classified according to a variety of systems, including language, national origin,
historical period, genre, and subject matter.
Western
If the early Egyptians or Sumerians had critical theories about the writing of literature, these have not
survived. From the time of Classical Greece until the present day, however, Western criticism has been
dominated by two opposing theories of the literary art, which might conveniently be called the expressive and
constructive theories of composition.
The Greek philosopher and scholar Aristotle is the first great representative of the constructive school of
thought. His Poetics (the surviving fragment of which is limited to an analysis of tragedy and epic poetry) has
sometimes been dismissed as a recipe book for the writing of potboilers. Certainly, Aristotle is primarily
interested in the theoretical construction of tragedy, much as an architect might analyze the construction of a
temple, but he is not exclusively objective and matter of fact. He does, however, regard the expressive
elements in literature as of secondary importance, and the terms he uses to describe them have been open to
interpretation and a matter of controversy ever since.
Thus, at the beginning of Western literary criticism, the controversy already exists. Is the artist or writer a
technician, like a cook or an engineer, who designs and constructs a sort of machine that will elicit
an aesthetic response from his audience? Or is he a virtuoso who above all else expresses himself and, because
he gives voice to the deepest realities of his own personality, generates a response from his readers because
they admit some profound identification with him?
Eastern
Critical theories of literature in Asian cultures, however, have been more varied. There is an immense amount
of highly technical, critical literature in India. Some works are recipe books, vast collections of tropes and
stylistic devices; others are philosophical and general. In the best period of Indian literature, the
cultural climax of Sanskrit (c. 320–490), it is assumed by writers that expressive and constructive factors are
twin aspects of one reality. The same could be said of the Chinese, whose literary manuals and books
on prosody and rhetoric are, as with the West, relegated to the class of technical handbooks, while their
literary criticism is concerned rather with subjective, expressive factors—and so aligns itself with the pseudo-
Longinus‘ ―sublime.‖ In Japan, technical, stylistic elements are certainly important
(Japanese discrimination in these matters is perhaps the most refined in the world), but both writer and reader
above all seek qualities of subtlety and poignancy and look for intimations of profundity often so evanescent
as to escape entirely the uninitiated reader.
Purpose
The purpose of a literary analysis essay is to carefully examine and sometimes evaluate a work of literature or
an aspect of a work of literature. As with any analysis, this requires you to break the subject down into its
component parts. Examining the different elements of a piece of literature is not an end in itself but rather a
process to help you better appreciate and understand the work of literature as a whole.
For instance, an analysis of a poem might deal with the different types of images in a poem or with the
relationship between the form and content of the work. If you were to analyze (discuss and explain) a play,
you might analyze the relationship between a subplot and the main plot, or you might analyze the character
flaw of the tragic hero by tracing how it is revealed through the acts of the play. Analyzing a short story might
include identifying a particular theme (like the difficulty of making the transition from adolescence to
adulthood) and showing how the writer suggests that theme through the point of view from which the story is
told; or you might also explain how the main character‘s attitude toward women is revealed through his
dialogue and/or actions.
Examples:
Gwendolyn Brooks‟s 1960 poem ―The Ballad of Rudolph Reed‖ demonstrates how the poet uses the
conventional poetic form of the ballad to treat the unconventional poetic subject of racial intolerance.
The fate of the main characters in Antigone illustrates the danger of excessive pride.
The imagery in Dylan Thomas‟s poem ―Fern Hill‖ reveals the ambiguity of humans‟ relationship with nature.
The Introduction
The introduction to your literary analysis essay should try to capture your reader‟s interest. To bring
immediate focus to your subject, you may want to use a quotation, a provocative question, a brief anecdote, a
startling statement, or a combination of these. You may also want to include background information relevant
to your thesis and necessary for the reader to understand the position you are taking. In addition, you need to
include the title of the work of literature and name of the author.
Example:
What would one expect to be the personality of a man who has his wife sent away to a convent (or perhaps
has had her murdered) because she took too much pleasure in the sunset and in a compliment paid to her by
another man? It is just such a man—a Renaissance duke—who Robert Browning portrays in his poem ―My
Last Duchess.‖ A character analysis of the Duke reveals that through his internal dialogue, his interpretation
of earlier incidents, and his actions, his traits—arrogance, jealousy, and greediness—emerge.
Each paragraph should contain a topic sentence (usually the first sentence of the paragraph) which states one
of the topics associated with your thesis, combined with some assertion about how the topic will support the
central idea. The purpose of the topic sentence is twofold:
The substance of each of your developmental paragraphs (the body of your essay) will be the explanations,
summaries, paraphrases, specific details, and direct quotations you need to support and develop the more
general statement you have made in your topic sentence.
Example:
TOPIC SENTENCE Sammy's descriptions of the A & P present a setting that is ugly, monotonous, and
rigidly regulated. The chain store is a common fixture in modern society, so the reader can identify with the
uniformity Sammy describes. EXPLANATIONS AND TEXTUAL EVIDENCE The fluorescent light is as
blandly cool as the "checkerboard green-and-cream rubber tile floor" (486). The "usual traffic in the store
moves in one direction (except for the swim suited girls, who move against it), and everything is neatly
organized and categorized in tidy aisles. The dehumanizing routine of this environment is suggested by
Sammy's offhand references to the typical shoppers as "sheep," "house slaves," and "pigs‖ (486). These
regular customers seem to walk through the store in a stupor; as Sammy indicates, not even dynamite could
move them out of their routine (485).
The Conclusion
Your literary analysis essay should have a concluding paragraph that gives your essay a sense of completeness
and lets your readers know that they have come to the end of your paper. Your concluding paragraph might
restate the thesis in different words, summarize the main points you have made, or make a relevant comment
about the literary work you are analyzing, but from a different perspective. Do not introduce a new topic in
your conclusion.
Example:
If the Duke has any redeeming qualities, they fail to appear in the poem. Browning's emphasis on the Duke's
traits of arrogance, jealousy, and materialism make it apparent that anyone who might have known the Duke
personally would have based his opinion of him on these three personality "flaws." Ultimately, the reader‟s
opinion of the Duke is not a favorable one, and it is clear that Browning intended that the reader feel this way.
Audience
Consider the reader for whom you are writing your essay. Imagine you are writing for not only your professor
but also the other students in your class who have about as much education as you do. They have read the
assigned work just as you have, but perhaps they have not thought about it in exactly the same way. In other
words, it is not necessary to "retell" the work of literature in any way. Rather, it is your role to be the
explainer or interpreter of the work—to tell what certain elements of the work mean in relation to your central
idea (thesis). When you make references to the text of the short story, poem, or play, you are doing so to
remind your audience of something they already know. The principle emphasis of your essay is to draw
conclusions and develop arguments. Be sure to avoid plot summary.
Summary
If a key event or series of events in the literary work support a point you are trying to make, you may want to
include a brief summary, making sure that you show the relevance of the event or events by explicitly
connecting your summary to your point.
Paraphrase
You can make use of paraphrase when you need the details of the original, but not necessarily the words of
the original: paraphrase to put someone else's words into your own words.
Specific Detail
Various types of details from the text lend concrete support to the development of the central idea of your
literary analysis essay. These details add credibility to the point you are developing
Using Direct Quotations
Quotations can illuminate and support the ideas you are trying to develop. A judicious use of quoted material
will make your points clearer and more convincing. As with all the textual evidence you use, make sure you
explain how the evidence is relevant—let the reader know why the quotes you cite are significant to your
argument.
Types of Readers
Literary Snobs
They are interested in ‗sophisticated‘ literature.
Series Fanatics
They are more interested in a particular book
Book Juggler
They are the ones who read multiple books simultaneously
Nonfiction enthusiast
These readers prefer to read facts
Re-readers
They are the ones who love reading the books again after reading.
Fiction lovers
They are the ones who absolutely love fiction
Tacit readers
Tacit readers and learners lack awareness of how they think when reading. These readers lack understanding
of the concept and take longer to fully grasp what they are learning.
Aware readers
Are readers who realize when the meaning was broken down but do not know how to fix the problem.
Strategic readers
Are the people who use the abilities needed to fix the problem. These readers are good readers and they
understand what they are doing but also they want to improve as readers to reach the next level which is
reflective.
Reflective readers
They are very strategic about their work and use multiple strategies for their reading. They reflect about what
they are thinking about and use the experience to modify future strategies.
Author
Author, one who is the source of some form of intellectual or creative work; especially, one who composes
a book, article, poem, play, or other literary work intended for publication. Usually a distinction is made
between an author and others (such as a compiler, an editor, or a translator) who assemble, organize, or
manipulate literary materials. Sometimes, however, the title of author is given to one who compiles material
(as for publication) in such a way that the finished compilation can be regarded as a relatively original work.
The word is ultimately from the Latin auctor, ―authorizer, responsible agent, originator, or maker.‖
CHAPTER 2- CLOSE READING: WORDS AND FORMS
Close reading is thoughtful, critical analysis of a text that focuses on significant details or patterns in order to
develop a deep, precise understanding of the text‘s form, craft, meanings, etc. It is a key requirement of the
Common Core State Standards and directs the reader‘s attention to the text itself.
Selecting a Text Not every text is appropriate for students to read closely. For example, while students enjoy
reading Diary of a Wimpy Kid books, these novels offer simple story lines and vocabulary that are easily
understandable. When you are done reading them, they don‘t leave you pondering deep ideas. Close reading
should leave you considering thought-provoking messages that go beyond the text. Close read-worthy texts
include enough complex ideas worthy of exploring and discussing to sustain one or more days of instruction.
According to Tim Shanahan, close reading is a multiday commitment to a text; you want students to read a
text that offers rich enough vocabulary, ideas, and information to read, examine, and discuss over those days
without feeling like you‘re beating a dead horse.
Questions to consider:
Qualitative
Does this text offer ideas or information that further students understanding of the topic?
Does the text include a text structure that …
Does the text follow familiar language conventions—sentence structures, word choices, etc.?
What background knowledge do my students need to have to be successful with this text?
Quantitative
Is this text on an appropriate readability level for the students in my group? How can I scaffold my students to
ensure their success with this text?
The primary leveling tool used by the Common Core is Lexile. For more information or to find the lexile of a
text, visit Lexile.com.
Vocabulary
Academic and domain-specific terms
Tier 2 vocabulary: high utility complex words that can be used in multiple contexts
Syntax
Coherence—Are the events and concepts logically connected and clearly explained?
Unity—Do the ideas focus on the topic and not include irrelevant or distracting information?
Audience appropriateness—Does the text match the background knowledge of the target reader?
Text structures
Description
Compare and Contrast
Temporal Sequence
Cause and Effect
Problem and Solution
Text features
Headings/subheadings
Signal words
Shared reading
Interactive read aloud
Comprehension Toolkit lessons
QAR
Literature circles
Questioning the author
Reciprocal teaching
Connecting to themes/essential questions
Post-its
Think sheets
Jigsaws
ANIMAL, VEGETABLE, OR MINERAL: WHY GENRE MATTERS
Genre, (French: ―kind‖ or ―sort‖) a distinctive type or category of literary composition, such as
the epic, tragedy, comedy, novel, and short story.
Animals are commonly found in the backdrop of works of literature, serving as props or setting or, on the rare
occasion, as plot point. Even rarer still are the occasions when an animal is the focus of a piece of literature,
the main character and the crux more than the catalyst of a novel or short
story‘s plot. In modern times, an animal main character seems silly,
childish; animals are only allowed to be main characters without question
in picture books.
The significance of animals in literature allows the writer to reinforce
common themes that are fundamental to written works. Certain animals are
routinely used to express various themes and specific symbols
The representation of animals in literature has a long and venerable history. Animal characters are a defining
feature of the fable, one of the oldest and most popular narrative genres, and continue to figure prominently in
contemporary fantastic literature. Western poetry is almost unimaginable without animal metaphors and
animal imagery. Even realistic fiction relies on animals to achieve a wide range of rhetorical effects, ranging
from pathos, to bathos, and including the commonplace. Indeed, it is perhaps this ubiquity and familiarity that
is responsible for the dearth of scholarship on the representation of animals in literature.
In today‘s social, political, and cultural context, it seems particularly urgent to put the question of the animal
on the agenda. Steven Connors has recently noted that ―the unignorability of ecological issues and the rise of
environmental criticism across the disciplines of the humanities are bringing the question of animal to a new
prominence‖
Much has been written, of course, on the symbolic use of animals in literature but this body of scholarship
does not address ―the question of the animal,‖ as will become clear in the ensuing discussion. 6
Bolongaro:0Syrimis 2/12/10 4:04 PM Page 105 EUGENIO BOLONGARO — 106 — encouraging. The
western philosophical tradition has been remarkably uninterested in developing a sustained reflection on
animals which, as Agamben (2002) notes, are typically mobilized merely to provide a foil for a definition of
what is essential about being human. Even when the turn to ethics in the 1990s resulted in an obsessive
preoccupation with alterity, the end of the human, the emergence of the inhuman and the post-human, Western
thinkers remained by and large ―single-mindedly uninterested in the proximate otherness represented by the
animal‖ (Connors 2007, 578). There are, however, some notable exceptions to this rather puzzling lack of
interest in the question of the animal. Among the contemporary interventions, Connors notes the contribution
to ethical philosophy by the ―animal rights‖ theorists such as Peter Singer (1989), and is especially impressed
by the late work of Jacques Derrida (2006) which in Connor‘s view bridges the gap between the especially
insensitive continental tradition and the somewhat more receptive Anglo-American philosophers. The
fundamental link between Singer and Derrida is that they both consider the question of the animal central to
the overcoming of the fallacies of ―speciesism‖ and anthropocentrism in human thought and practice
ANALYZING LANGUAGE
What is the language analysis?
In simple words, Language Analysis means to understand what a writer is saying in his piece of writing like
an essay or an article. Analysis refers to how a writer is conveying his ideas through language techniques,
such as figures of speech, sentence structure, tone, word choice, etc. The analysis of language is what you call
as ―Language Analysis.‖ You have to study the article or an essay or whatever text piece you have, very
carefully and hence, identify each component in it. You might get to write a language analysis assignment. So,
not to worry, I will surely discuss all the aspects of language in this article to help you analyze things better.
Alliteration
When you use words that have the same letter and same sound at the beginning of their pronunciation like,
―Betty bought better butter,‖ is what you call as alliteration. It‘s a poetic device to make a chain of words
which start with the same consonant sound. There should be no heavy alliteration used in the whole write-up,
as sometimes it makes the write-up blur or might get you off the track too.
Simile
Another important feature of language analysis is the usage of Simile in the write-up. Simile is a comparison
made of one thing with the another. Example: ―He ran as fast as a Cheetah on the ground.‖ Now here, the man
is being compared to a fast running Cheetah because that man may be running too fast. So, the man was
compared to a Cheetah, and thus this is where simile comes in.
Onomatopoeia
It literary means, ―the sound I make.‖ What I want to say is that Onomatopoeia is words which give the feel of
a sound being made like, ―splash, spray, sprinkle, drizzle, bang, etc.‖ We can easily feel the sound when we
pronounce these words. For example, ―He banged the door and left.‖ Here, banged gave us the indication that
the door got closed very hitting hard. So, such words give us the indication of the activity which happens at
that moment. We can visualize easily.
Metaphor
It is again one of the interesting features of language analysis. Metaphors are words which describe a situation
regarding something else. It‘s kind of indirect comparison. Metaphor shows that one thing is another thing.
Example: ―This girl is on fire.‖ Now, this metaphor doesn‘t mean that the girl has been caught in a fire, rather
it means that the girl is doing brilliantly in some activity.
Personification
It is a comparison where a non-human thing is described in terms of human.
Example: ―The last piece of the blueberry cheesecake, called my name.‖ So, blueberry cheesecake is not a
human being which is calling me, but I have personified it, and thus it is described as if it‘s really calling me.
Vocabulary
You need to identify what kind of words, is the author using in his write-up and why? You need to understand
how the author is playing with words?
A poet might use words in the exact way they sound or in a different way (assonance), playing with
initial letters of the words. This is for different effects in the write-up.
Writers may use verbs depicting motion when they want to show some kind of emergency like
running or something else.
An author may also use symbolic characters and place names to make his writeup more interesting.
Syntax
You have to give attention to how authors use punctuation and sentence structure. They are either used in a
usual manner or an unusual manner. This trick is used to create effects at different points in a poem or novel.
The author might use the following tricks to play with language.
No punctuation used
Heavy or short punctuated sentences
The author might use simple and folktale narrative language
Long lines which are not punctuated
Perspective
You need to check the point of view that the author is keeping in his writing. He might be talking in
perspective of the second person or the third person. What he is trying to portray, this you need to find out.
What perspective is the poet or the author trying to put in.
Grammar
Sometimes, writers use incorrect grammar but, that is not because they are not good at it, rather they use it
deliberately. It is because the writers have their own style of writing and it‘s up to them that how they want to
use words in their write up. You have to check this out whether, the writer has used the incorrect grammar
deliberately or whether it was a mistake? Try to consider the effects of tenses and the rhetorical effects.
Imagery
You need to find out what kind of picture is the writer trying to make through his writing. The words can also
connect things. The write-up may be a mix up of many colours being involved which symbolize something.
Then comes nature/landscape/geography. You need to be sure that what feelings the writer has. Focus on the
examples that the writer has given. This puts more impact on the reader‘s mind.
Sound
Alliteration – the repetition of constant sounds in words that are close together.
Assonance – the repetition of similar vowel sounds followed by different consonant sounds, especially in
words close together.
Consonance – the repetition of the same or similar final consonant sounds on accented syllables or in
important words.
Onomatopoeia – the use of a word whose sound imitates or suggests its use or meaning.
Refrain/ (Repetition) – a word, phrase, line, or group of lines that is repeated, for effect, several times in a
poem.
Rhyme – the repetition of vowel sounds in accented syllables and all succeeding syllables.
Internal – rhyme that occurs within a line of poetry or within consecutive lines.
End Rhyme – rhyme that occurs at the ends of lines.
Slant Rhyme – a rhyming sound that is not exact.
Couplet – two consecutive rhyming lines of poetry.
Common Figures of Speech – a word or a phrase that describes one thing in terms of another and that Is not
meant to be taken literally
Cliché – a word or phrase, often a figure of speech, that has become lifeless because of overuse.
Conceit – an elaborate metaphor or other figure of speech that compares two things that are startlingly
different.
Hyperbole – a figure of speech that uses an incredible exaggeration, or overstatement, for effect.
Metaphor – a figure of speech that makes a comparison between two unlike things without the use of such
specific words of comparison as like, as, than, or resembles. They may be
directly states,
implied,
extended,
dead, or
mixed.
Metonomy – a figure of speech in which a person, place, or things is referred to by something closely
associated with it. Example – referring to a car as ―wheels‖
Oxymoron - a figure of speech that combines opposite or contradictory terms in a brief phrase. ―Sweet
sorrow,‖ ―deafening silence,‖ and ―living death‖ are common oxymorons.
Personification – a figure of speech in which an object or animal is given human feelings, thoughts, or
attitudes.
Simile – a figure of speech that makes an explicit comparison between two unlike things, using a word such
as, like, as, than, or resembles.
Symbol – a person, place, thing, or event that has meaning in itself and that also stands for something more
that itself. We can distinguish between
public and
personal symbols.
Elements of Literature
Allusion – a reference to someone or something that is known from history, literature, religion, politics,
sports, science, or some other branch of culture.
Connotation – the associations and emotional overtones that have become attached to a word or phrase, in
addition to its strict dictionary definition.
Diction – a speaker or writer‘s choice of words (formal, informal, colloquial, full of slang, poetic, ornate,
plain, abstract, concrete, and so on).
Imagery – the use of language to evoke a picture or concrete sensation of a person, a thing, a place or an
experience.
Irony – in general, a discrepancy between appearances and reality (verbal, situational, or dramatic).
Pun – a ―play on words‖ based on the multiple meanings of a single word or on words that sound alike but
mean different things.
Theme – the insight about human life that is revealed in a literary work (different from subject).
Tone – The attitude a writer takes toward the subject of a work, the characters in it, or the audience.
Style – the distinctive way in which a writer uses language. Examples in poetry – ballad – a song or poem that
tells story; Tone is the writer‘s attitude toward a subject, character, or audience and is conveyed through the
author‘s choice of diction, imagery, figurative language, details, and syntax.
catalog – a list of things, people, or events;
concrete poem – a poem in which the words are arranged on a page to suggest a visual
representation of the subject;
epic – a long narrative poem, written in heightened language, which recounts the deeds of a heroic
character who embodies the values of a particular society;
lyric poem – a poem that does not tell a story but expresses the personal feelings of thoughts of a
speaker;
ode – a lyric poem, usually long, on a serious subject and written in dignified language; and
sonnet – a fourteen-line poem, usually written in iambic pentameter, that has one of two basic
structure – Petrarchan – octave – abba, abba; and sestet – cde, cde, or Shakespearean – abab, cdcd,
efef, gg
Rhythm
Caesura – a pause or break within a line of poetry (indicated by punctuation or phrasing or meaning).
Spondee – the metrical good consisting of two syllables, both of which are stressed. The words true-blue and
nineteen are made of spondees.
Anapest – a metrical good that has two unstressed syllables followed by one stressed syllable. The
word coexist is an example of an anapest.
Blank verse – Poetry written in unrhymed iambic pentameter.
Cadence – the natural, rhythmic rise and fall of a language as it is normally spoken. Cadence is different from
meter, in which the stressed an unstressed syllables of a poetic line are carefully counted to conform to a
regular patter.
Free verse – poetry that does not conform to a regular meter or rhyme scheme.
OTHER DEVICES:
Aphorism
a concise statement of a general truth or principle; like a truism
Example—
A penny saved is a penny earned. - Ben Franklin
The man who does not read good books has no advantage over the man who cannot read them. - Mark
Twain
―You never really understand a person until you consider things from his point of view – until you
climb into his skin and walk around in it.‖ from To Kill A Mockingbird by Harper Lee
Epigraph
a quotation at the beginning of a literary work to introduce its theme
Example—
But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou
eatest thereof thou shalt surely die.
Verbal Irony
use of words in which the intended meaning is contrary to the literal meaning
Example
―Are we gonna do anything today?‖ or ―Is class gonna be fun today?‖
In SHREK , when Fiona Says ―Where are you going?‖ and Shrek replies ―I‘ve got to save my ass.‖
(Speaking of Donkey, of course.)
Situational Irony
implying through plot or character that a situation is quite different from the way it is presented.
Example
'The Wonderful Wizard of Oz', Scarecrow always had a brain; Tin Man always had a heart; Dorothy
could have always gone home; the Cowardly Lion wasn‘t a coward after all.
Dramatic Irony
dramatic device in which a character says or does something that he or she does not fully grasp but
which is understood by the audience
Example
Lois Lane is constantly trying to get an interview with Superman, but she actually sees him every day
and doesn‘t know it (Clark Kent).
Sarcasm
a bitter form of irony, can be intended to tease or hurt; often insinuated by the tone; late Greek
sarkasmós, f. sarkázein tear flesh, gnash the teeth, speak bitterly, f. sárx, sark- flesh.
Example—
―I‘m proud of you, Mom. You‘re like Christopher Columbus. You discovered something millions of
people knew about before you.‖ –Lisa Simpson P
Paradox
a seemingly contradictory statement that on closer analysis reveals a deeper truth
Example—
―I‘m nobody.‖ --anonymous
―I can resist anything but temptation.‖ --Oscar Wilde
―Nobody goes to that restaurant; it‘s too crowded.‖
Self-Help: You can also refer to the sources below to help you further understand
the lesson:
Online references:
*Retrieved from: http://theislandreader.com/7-types-readers/
*Retrieved from: https://cambridgeeditors.wordpress.com/2013/06/28/the-animal-in-literature/
*Retrieved from: https://jps.library.utoronto.ca/index.php/qua/article/download/11905/11408/
*Retrieved from: https://nieonline.com/tbtimes/downloads/CCSS_reading.pdf
*Retrieved from: https://prezi.com/9xzxvy45mn0a/four-types-of-readers/
*Retrieved from: https://www.allassignmenthelp.com/blog/language-
analysis/#:~:text=In%20simple%20words%2C%20Language%20Analysis,tone%2C%20word%20cho
ice%2C%20etc.
*Retrieved from: https://www.birdvilleschools.net/cms/lib2/TX01000797/Centricity/Domain/
407/Literary%20Devices.pdf
*Retrieved from: https://www.britannica.com/art/author
*Retrieved from: https://www.britannica.com/art/genre-literature
*Retrieved from: https://www.britannica.com/art/literature
*Retrieved from: https://www.bucks.edu/media/bcccmedialibrary/pdf/HOWTOWRITEALITER
ARYANALYSISESSAY_10.15.07_001.pdf
*Retrieved from: https://www.dentonisd.org/cms/lib/TX21000245/Centricity/Domain/
581/Poetry%20Terms.pdf
*Retrieved from: https://www.goshen.edu/academics/english/literary-analysis-guide/