No work, and no current evaluationof it, can simply be extended to new groups of people without being changed,perhaps almost unrecognizably, in the process; and this is one reason whywhat counts as literature is a notably unstable affair .
Are there other examples that might give students some insight into the way lit critics use language--to establishprofessional ethos? to frame interpretations? etc.
My thanks to Kathryn & Russ for their recent comments. I wonder, though, if there isn't another way of approachingthe topic of "writing about Lit." One of the features I'm hoping to include in my text is a "glossaryof specialized usage." Instead of defining key literary terms, I think that students would find a listing(& explanation) of critical language useful: here I'm thinking of the specialized way critics use words like"privilege" and "foreground"--& of key words/tropes specific to literary criticism (spatialmetaphors about "reading in meaning," or "thick interpretation" seem commonplace, for example).Also, critics tend to engage in genteel exploration, freqently employing rhetorical understatement and words suchas "seems" and "suggests."
I've had much success with students analyzing literary criticism along side other forms of professional correspondenceboth academic and non-academic. Viewing professional essays as "transactions" has helped us to de-mystifymuch of this particularly misty genre.
[tags: Literary Devices, Analytical Essay]
Spelling. For beginning writers, correct spelling is less important than having opportunities to apply their emerging knowledge of the alphabetic principle to their own writing. (also called ) allows beginning writers to apply their developing knowledge of phonics to sound out the spelling of words as they write. However, because over fifty percent of the words students encounter are high-frequency sight words that are rarely spelled phonetically (such as “they”), beginning writers also need to learn strategies for spelling these words. provide students with a tool for learning the correct spellings of high-frequency words and applying them in their daily writing (Cunningham & Hall, 2000).
There is no 'essence' of literaturewhatsoever.
I also remain hopeful that, by asking students to engage in some rhetorical analysis of professional criticalwriting, they can, with guidance, position their own responses with greater confidence. Without that guided analysis,published criticism remains a kind of foreign language, something that others write, something to be quoted butseldom emulated.
[tags: Literature Essays Literary Criticism]
AESOPIC LANGUAGE: In Russian criticism, the name for oppositional political writing hidden in circumlocution, fables, and vague references so that it can bypass official censorship (Harkins 1). The term refers to Aesop's Fabula, a collection of beast fables in which simple stories about animals contained morals or messages "between the lines," so to speak. The coinage of the term comes from Saltykov, who is both the first to use the term in this sense and the one whom many modern Russian critics consider the best example of such writings (Harkins 1).