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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 .
"The Feeling of Power" is a science fiction short story by American writer Isaac Asimov. The story first appeared in the February 1958 issue of If: Worlds of Science Fiction, and was reprinted in the 1959 collection Nine Tomorrows, the 1969 retrospective Opus 100, the 1970 anthology The Stars Around Us, the 1986 collection Robot Dreams, the 1990 anthology "The Complete Stories (Asimov)" volume 1.
Motojirō Kajii (梶井 基次郎, Kajii Motojirō, also Motojirou Kajii, February 17, 1901 – March 24, 1932) was a Japanese writer in the early Shōwa period known for his poetic short stories. Kajii's works included Remon ( 檸檬 , " Lemon ") , "Shiro no aru machi nite" ( 城のある町にて , "In a Castle Town") .
In Indian aesthetics, a rasa (Sanskrit: रस) literally means "juice, essence or taste". [1] [2] It is a concept in Indian arts denoting the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience, but cannot be described. [2]
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"The Truth of Fact, the Truth of Feeling" is a science fiction story by American writer Ted Chiang. It was first published in 2013 in Subterranean Press.. The story is written as an article by an unnamed journalist in the near future, who tells his experience with a device that endows its users with eidetic memory, interspersed with a fictionalized account of an incident in which writing was ...
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".