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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 .
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".
Chapter 2: Handwriting and punctuation. After briefly discussing handwriting, the bulk of the chapter (27 of 29 pages) focuses on the myriad ways in which basic writers use and misuse punctuation. In order to understand the logic behind the errors, Shaughnessy explores the concept of the sentence and the differences between spoken and written ...
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.
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Eliot uses Lady Macbeth's state of mind as an example of the successful objective correlative: "The artistic 'inevitability' lies in this complete adequacy of the external to the emotion….", as a contrast to Hamlet. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him.
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 ...