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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. 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.
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.
The 'stars' in a literary text are fixed; the lines that join them are variable". [2] A literary work, which for Iser is created when a reader and a text "converge, [3] consists of two "poles": the artistic (the object, the text created by the author) and the aesthetic (the realization accomplished by the reader). [4]
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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David Bleich is an American literary theorist and academic. He is noted for developing the Bleich "heuristic", a reader-response approach to teaching literature. [1]He is also a proponent of reader-response criticism to literature, advocating subjective interpretations of literary texts.