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The mood of a piece of literature is the feeling or atmosphere created by the work, or, said slightly differently, how the work makes the reader feel. Mood is produced most effectively through the use of setting, theme, voice and tone, while tone is how the author feels about something.
Mood is the general feeling or atmosphere that a piece of writing creates within the reader. Mood is produced most effectively through the use of setting, theme, voice and tone. Tone can indicate the narrator's mood, but the overall mood comes from the totality of the written work, even in first-person narratives .
Structure of feeling is a term coined by literary theorist Raymond Williams. [1] In The Great Gatsby, Nick Carraway expresses several different feelings towards the Roaring Twenties, simultaneously romanticizing, admiring, envying, pitying, and resenting the rich of New York. The novel investigates this structure of feeling.
These came with 74 in (1,880 mm) diameter drivers and 310 psi (2.1 MPa) boiler pressure, making these ATSF 2-10-4 s the fastest and most modern of all. Of the original order of ten, five were oil-burning and five coal-burning, but when Santa Fe ordered 25 more for delivery in 1944, all were delivered equipped to burn oil.
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Reader-response theory recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation. Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates their own, possibly unique, text-related performance.
Among the most famous sentimental novels in English are Samuel Richardson's Pamela, or Virtue Rewarded (1740), Oliver Goldsmith's Vicar of Wakefield (1766), Laurence Sterne's Tristram Shandy (1759–1767) and A Sentimental Journey (1768), Henry Brooke's The Fool of Quality (1765–1770), Henry Mackenzie's The Man of Feeling (1771) and Maria Edgeworth's Castle Rackrent (1800).