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The Translator as Reader and Writer: English Versions of Japanese Short Fiction by Kajii Motojiro (1982) Miscellaneous amateur translations on Internet (see external links below). Translations into other languages as of 2007. French: Le citron (1987, 1996) – partial translation of Remon (stories #1,8,9,10,11,13,16,18)
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 .
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.
Reader-response theory recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation. Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates their own, possibly unique, text-related performance.
[8] A writer explained how it brings a story gravitas: Hemingway said that only the tip of the iceberg showed in fiction—your reader will see only what is above the water—but the knowledge that you have about your character that never makes it into the story acts as the bulk of the iceberg. And that is what gives your story weight and gravitas.
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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.
Others may feel fine writing a lab report, but writing a letter to loved one triggers the anxiety. [3] Writing anxiety is therefore a situational experience that depends on a number of factors, including the writing task itself, the environment, personal and audience expectations, and one's previous experiences with writing. [ 4 ]