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The author, they argue, cannot be reconstructed from a writing — the text is the primary source of meaning, and any details of the author's desires or life are secondary. Wimsatt and Beardsley argue that even details about the work's composition or the author's intended meaning and purpose that might be found in other documents such as ...
Defining an audience requires the consideration of many factors, such as age, culture and knowledge of the subject. After considering all the known factors, a profile of the intended audience can be created, allowing writers to write in a manner that is understood by the intended audience.
In literature an author sets the tone through words. The possible tones are bounded only by the number of possible emotions a human being can have. Diction and syntax often dictate what the author's (or character's) attitude toward his subject is at the time. An example: "Charlie surveyed the classroom but it was really his mother ...
A teacher might analyze a poem in order to gain a more conscious understanding of how the poem achieves its effects, in order to communicate this to their students. A writer learning the craft of poetry might use the tools of poetry analysis to expand and strengthen their own mastery. [ 4 ]
Be aware of specific pitfalls that it sets in your path, e.g., the use of jargon, abbreviations, and technical vocabulary. Show a draft to some people who are similar to your intended audience, and find out whether they can follow it. Show a draft to yourself, after enough time has passed that the text is no longer familiar. Rework and revise.
The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains.
The poem stirred emotions throughout the world because it centered on communal feelings, says Tracie Morris, PhD, professor of poetry at the Iowa Writers’ Workshop.
By the 1970s, three main forms of poetry performance had emerged. First was the poetry reading, at which poems that had been written for the page were read to an audience, usually by the author. Poetry readings have become widespread and poetry festivals and reading series are now part of the cultural landscape of most Western societies.