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In literary criticism, close reading is the careful, sustained interpretation of a brief passage of a text. A close reading emphasizes the single and the particular over the general, via close attention to individual words, the syntax, the order in which the sentences unfold ideas, as well as formal structures.
New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object.
Rosenblatt's idea of the reading process, however, does not lead to all readings being equally accurate. For the reader's part, he or she must pay close attention to every detail of the text and pay equal attention to his or her own responses. This process exemplifies not only reader-response criticism but also close reading. This inclusion of ...
Chapter One: Close Reading; Prose discusses the question of whether writing can be taught. She answers the question by suggesting that although writing workshops can be helpful, the best way to learn to write is to read. Closely reading books, Prose studied word choice and sentence construction.
The New Critical approach insists on the value of close reading and rejects extra-textual sources. The New Critics also rejected the idea that the work of a critic or analyst is to determine an author's intended meaning (a view formalized by W.K. Wimsatt and Monroe Beardsley as the intentional fallacy).
The essay is to consist of an introduction three or more sentences long and containing a thesis statement, a conclusion incorporating all the writer's commentary and bringing the essay to a close, and two or three body paragraphs; Schaffer herself preferred to teach a four-paragraph essay rather than the traditional five-paragraph essay.
The Stranger" is an essay by Georg Simmel, originally written as an excursus to a chapter dealing with the sociology of space in his book Soziologie. [1] In this essay, Simmel introduced the notion of "the stranger" as a unique sociological category. He differentiates the stranger both from the "outsider" who has no specific relation to a group ...
The essay concludes, "The struggle itself towards the heights is enough to fill a man's heart. One must imagine Sisyphus happy." The work can be seen in relation to other absurdist works by Camus: the novel The Stranger (1942), the plays The Misunderstanding (1942) and Caligula (1944), and especially the essay The Rebel (1951).
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