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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.
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]
For the "real" reader, he substitutes an implied reader, who is the reader a given literary work requires. 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".
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[3] While this genre is particularly associated with the second half of the 18th century, it continued in a modified form into the 19th century, especially in the works of Mrs. Henry Wood, who is remembered especially for East Lynne (1861). [4] However, the question as to whether Charles Dickens is a sentimental novelist is more debatable.
Reception theory is a version of reader response literary theory that emphasizes each particular reader's reception or interpretation in making meaning from a literary text. Reception theory is generally referred to as audience reception in the analysis of communications models.