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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.
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 ]
Among the most famous sentimental novels in English are Samuel Richardson's Pamela, or Virtue Rewarded (1740), Oliver Goldsmith's Vicar of Wakefield (1766), Laurence Sterne's Tristram Shandy (1759–1767) and A Sentimental Journey (1768), Henry Brooke's The Fool of Quality (1765–1770), Henry Mackenzie's The Man of Feeling (1771) and Maria Edgeworth's Castle Rackrent (1800).
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[1] [2] For Williams, a structure of feeling is “a kind of feeling and thinking which is indeed social and material, but each in an embryonic phase before it can become fully articulate and defined exchange”. [1] Structures of feeling are emergent. They eventually give way to a more generalized or defined form of feeling in general ...