OCW Course Index. Literature Infographics - Course Hero. Reading strategies and literary elements. Author's Craft - Literary Devices. List of narrative techniques - Wikipedia. A narrative technique (also known more narrowly for literary fictional narratives as a literary technique, literary device, or fictional device) is any of several specific methods the creator of a narrative uses to convey what they want—in other words, a strategy used in the making of a narrative to relay information to the audience and, particularly, to "develop" the narrative, usually in order to make it more complete, complicated, or interesting.
Literary techniques are distinguished from literary elements, which exist inherently in works of writing. Setting Plots Perspective Style Theme Character References Plot (narrative) Plot and Story.
Plot is the cause‐and‐effect sequence of events in a story. Plot is a narrative (and, traditionally, literary) term defined as the events that make up a story, particularly: as they relate to one another in a pattern or in a sequence; as they relate to each other through cause and effect; how the reader views the story; or simply by coincidence. Authors are generally interested in how well this pattern of events accomplishes some artistic or emotional effect. 150 Great Articles and Essays. Changing My Mind by Zadie Smith A great collection of essays about literature, writing and culture, along with more personal pieces Home By Subject By Author By Publication 150 Great Articles 100 Great Nonfiction Books By Subject By Author Greats Books David Foster Wallace The Capital T TruthTense PresentShipping OutFX Porn More from this author.
Italo Calvino's 14 Definitions of What Makes a Classic. Writers. Writers. Theory & Practice of Literary Criticism. Writing Materials. Il "doppiese", la lingua irreale delle traduzioni. #atozchallenge W is for The Writing Rule Book [Infographic] – Word Hunter. Writing Maxims to Live By, and Break “There are three rules for writing.
Unfortunately, nobody knows what they are.” – Somerset Maugham. What Famous Novels Look Like Stripped of Everything But Punctuation. Jacques Mattheij made a small, but awesome, mistake.
He went on eBay one evening and bid on a bunch of bulk LEGO brick auctions, then went to sleep. Upon waking, he discovered that he was the high bidder on many, and was now the proud owner of two tons of LEGO bricks. (This is about 4400 pounds.) The world's greatest literature reveals multifractals and cascades of consciousness. James Joyce, Julio Cortazar, Marcel Proust, Henryk Sienkiewicz and Umberto Eco.
Regardless of the language they were working in, some of the world's greatest writers appear to be, in some respects, constructing fractals. Statistical analysis carried out at the Institute of Nuclear Physics of the Polish Academy of Sciences, however, revealed something even more intriguing. The composition of works from within a particular genre was characterized by the exceptional dynamics of a cascading (avalanche) narrative structure. The Psychology of Writing and the Cognitive Science of the Perfect Daily Routine. Reflecting on the ritualization of creativity, Bukowski famously scoffed that “air and light and time and space have nothing to do with.”
Samuel Johnson similarly contended that “a man may write at any time, if he will set himself doggedly to it.” And yet some of history’s most successful and prolific writers were women and men of religious daily routines and odd creative rituals. (Even Buk himself ended up sticking to a peculiar daily routine.) Such strategies, it turns out, may be psychologically sound and cognitively fruitful. In the altogether illuminating 1994 volume The Psychology of Writing (public library), cognitive psychologist Ronald T. The Psychology of Cryptomnesia: How Unconscious Plagiarism Works. Le plaisir du texte - Roland Barthes. Tout être humain éprouve du plaisir pour certaines choses dans la vie, à titre d’exemple : le sport, le voyage, le jeu, le cinéma, la lecture, la peinture… pour ceux qui prennent du plaisir de la lecture, leur degré de jouissance diffère d’un texte à un autre.
C’est également ce que Roland Barthes a essayé de traiter, dans Le plaisir du texte, donnant accès à une nouvelle théorie du texte, celle du plaisir. The art of the metaphor - Jane Hirshfield. To explore metaphors more fully on your own, there are three directions you can go.
The first is simply to start noticing whenever you meet one. Jane Hirshfield slipped metaphors into many of the things she said in this lesson. You might listen to it again and make a list of some of the metaphors she used along the way, without pointing out that they were metaphors. Then go to any random web blog or newspaper or magazine article and just start reading until you’ve found a half dozen metaphors. Metaphor and metonymy. In the unconscious: condensation and displacement In 1957, Jacques Lacan, inspired by an article by linguist Roman Jakobson, argued that the unconscious has the same structure of a language, and that condensation and displacement are equivalent to the poetic functions of metaphor and metonymy. References
Le roman d’apprentissage ou conte initiatique. Le roman d’apprentissage, ou roman de formation, est un genre littéraire romanesque né en Allemagne au XVIIIème siècle (à ne pas confondre avec le roman de jeunesse). Il s’oppose cependant à la fonction première du romanesque qui est de nous transporter dans un monde de rêve et d’évasion. Romanzo di formazione. Il romanzo di formazione o Bildungsroman (dal tedesco) è un genere letterario riguardante l'evoluzione del protagonista verso la maturazione e l'età adulta, nonché la sua origine storica.
In passato lo scopo del romanzo di formazione era quello di promuovere l'integrazione sociale del protagonista, mentre oggi è quello di raccontarne emozioni, sentimenti, progetti, azioni viste nel loro nascere dall'interno. "DFW nella casa stretaga" secondo G. De Michele... This Is Water: David Foster Wallace on Life. On September 12, 2008, David Foster Wallace took his own life, becoming a kind of patron-saint of the “tortured genius” myth of creativity. Just three years prior to his suicide, he stepped onto the podium at Kenyon College and delivered one of the most timeless graduation speeches of all time — the only public talk he ever gave on his views of life. The speech, which includes a remark about suicide by firearms that came to be extensively discussed after DFW’s own eventual suicide, was published as a slim book titled This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life (public library).
You can hear the original delivery in two parts below, along with the the most poignant passages. David Foster Wallace on Why You Should Use a Dictionary, How to Write a Great Opener, and the Measure of Good Writing. By Maria Popova “Readers who want to become writers should read with a dictionary at hand,” Harvard psycholinguist Steven Pinker asserted in his indispensable guide to the art-science of beautiful writing, adding that writers who are “too lazy to crack open a dictionary” are “incurious about the logic and history of the English language” and doom themselves to having “a tin ear for its nuances of meaning and emphasis.” But the most ardent case for using a dictionary came more than a decade earlier from none other than David Foster Wallace.
In late 1999, Wallace wrote a lengthy and laudatory profile of writer and dictionary-maker Bryan A. Garner. David Foster Wallace on Writing, Self-Improvement, and How We Become Who We Are. By Maria Popova “Good writing isn’t a science. It’s an art, and the horizon is infinite. You can always get better.” Vladimir Nabokov on Writing, Reading, and the Three Qualities a Great Storyteller Must Have. By Maria Popova “Between the wolf in the tall grass and the wolf in the tall story there is a shimmering go-between. That go-between, that prism, is the art of literature.”
“Often the object of a desire, when desire is transformed into hope, becomes more real than reality itself,” Umberto Eco observed in his magnificent atlas of imaginary places. Language in Lolita. Kurt Vonnegut's 8 Tips on How to Write a Great Story. Le Cut-Up, William Burroughs. Critically and commercially successful postmodernist novels such as Slaughterhouse Five and The Book of Daniel present themsel.
The combined silence Critically and commercially successful postmodernist novels such as Slaughterhouse Five and The Book of Daniel present themselves, ironically, as ‘failures’ - as evidence of the inability the narrator/author to compose a coherent narrative or text, to ‘make sense’ of experience or interpret history intelligibly. Discuss the functions and effects of the trope of ‘failure’ and authorial ‘impotence’ in any set text(s). By the time Roland Barthes announced the death of the author more writers were engaged with the idea their novels should not formulate meaning for the reader.
Truths are heading towards multiple places and coming from multiple texts, perhaps all unoriginal. The cult section of the literary world. Stephen King's Top 20 Rules for Writers. Image by the USO, via Flickr Commons In one of my favorite Stephen King interviews, for The Atlantic, he talks at length about the vital importance of a good opening line. “There are all sorts of theories,” he says, “it’s a tricky thing.” “But there’s one thing” he’s sure about: “An opening line should invite the reader to begin the story. It should say: Listen.
Come in here. We’ve talked so much about the reader, but you can’t forget that the opening line is important to the writer, too. This is excellent advice. Steven Pinker: 'Many of the alleged rules of writing are actually superstitions' The Paris Review's Lorin Stein on the Power of Ambiguity in Fiction. By Heart is a series in which authors share and discuss their all-time favorite passages in literature. Bird by Bird: Anne Lamott’s Timeless Advice on Writing and Why Perfectionism Kills Creativity. The Workhorse and the Butterfly: Ann Patchett on Writing and Why Self-Forgiveness Is the Most Important Ingredient of Great Art. By Maria Popova “The ability to forgive oneself … is the key to making art, and very possibly the key to finding any semblance of happiness in life.”
Sara Toole Miller - Fiction & Non-Fiction Writer. Numéro Cinq » A warm place on a cruel web. Literary Hub: The Best of the Literary Internet. The Rumpus.net. Review 31 Home. ReadySteadyBook - for literature... Open Letters Monthly - an Arts and Literature Review. Paris Review Daily - Blog, Writers, Poets, Artists - Paris Review.
Writersroom - Homepage. Writer and Proud. We Make Zines - a place for zinesters - writers and readers. Digital Is. Explore the Genre Map. Le romantisme - nature et sensation. Linguistics/Literature. Unmissable articles on writing. Writing sites. FMWriters.com. Backspace: The Writers Place. Welcome to Mystic Island: Home to the Best Serial Stories. Terrible Minds. Whichbook. Sad books make me happy.
Longform. Word-Whores. All Freelance Writing - Freelance Writing Resource. Write hard. Write true. And write on. Script Frenzy. Ralan.com - Home Page. Make A Living Writing. Everest by Fog. The Allen Ginsberg Project. Harry Potter vs. Huckleberry Finn: Why the British Tell Better Children’s Stories Than Americans. 'patakosmos.