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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 .
Within various polarities created by the text, this "implied" reader makes expectations, meanings, and the unstated details of characters and settings through a "wandering viewpoint". In his model, the text controls. The reader's activities are confined within limits set by the literary work.
Similarly, the implied reader is not the real reader of a text; he or she is the reader that the implied author imagines when writing a text. Gérard Genette uses the term focalization rather than point of view of a work to distinguish between " 'Who sees?' (a question of mood) and 'Who speaks?' (a question of voice)", though he suggests ...
In this book, Naipaul discusses how the work of other writers has affected his writing. The book attracted criticism from those in British literary circles who thought that Naipaul gave uncharitable treatment to several notable authors, and in particular Anthony Powell and his novel sequence A Dance to the Music of Time, especially since Powell had been a friend of Naipaul's.
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Structure of feeling is a term coined by literary theorist Raymond Williams. 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 reader-response theory associated with Bleich emerged from hermeneutics or the study of how readers respond to literary and cultural texts. [5] Bleich is one of the subjective reader-response critics who consider the reader responses as the text since there is no literary text beyond the readers' interpretations. [6]