Begin at the beginning, in your introductory paragraph, catch your readers attention with a surprising"tion from the book, or with an intriguing statement about. Then, briefly tell what the story is about. Identify the element of the story that will be your focus. End with your thesis statement. Support your Opinion, whether you respond with your mind or with your emotions, you need to support your responses by going back to the text itself. Make sure you provide details from the authors work to back up your thoughts and feelings. Look for specific descriptions and information.
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Why or why not? How does the author establish the storys setting? Consider your purpose and audience: your audience may be younger children, older people, or mixed group. Your purpose is to evaluate some element of story or novel or book resume and to explain and support your evaluation. Include examples or"tions to back up each point you make. Use readers Log: Before, during, and after reading, a readers Log can be an invaluable tool in which you explore your responses to literature. Here are some strategies that you may find helpful. Brainstorming, make a plan: review your prewriting notes, and circle the element of the story that most intrigues you. Develop a thesis-a one or two-sentence statement that sums up your opinion on this element. Then plan now your response using the basic structure of introduction, body, and conclusion. Write notes on how you will develop each section.
Follow the process explained below to develop your own response to literature. Prewriting, choosing a story/book: Choose a story or a book that made a strong impression on you-even if it was a negative one. When you have a definite opinions and strong feelings about something, its usually easier to write about. Explore the ideas: Once you choose a story or a book, jot down type notes on the elements that made the strongest impression on you. Is the plot clever? How are the characters developed? Do they seem true to life?
Sometimes, particularly in school, you are asked to explain your response, to provide support for. In order to do that, you need to think critically about your response and look back in the text to identify the details and facts that led you to draw a conclusion or form an opinion. Drawing Conclusions: you understand certain things as you read even if they are not stated directly. As you read, you pick up clues, connect them to other things you have read and experienced, and then draw conclusions. For example, the clues in a short story may help you conclude that the main character is unhappy. Forming and Supporting Opinions: An opinion expresses a personal belief, attitude, or point of view. It cannot be proved right or wrong. Because opinions are based on personal experiences, it is easy to see how people can have different opinions on the same subject.
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Everyone has his/her own tastes. While you may enjoy fiction and fantasy, the other person may enjoy modern dramas. One of the best ways to share your personal taste in homework literature is to write a response to the books or stories you read. Let us study in detail what response to literature. A response to literature can be explained as one of the compositions that shows the readers understanding and analyses of the theme, plot, characters, or other aspects of a chapter, story, book, a poem, or a movie. Remember it does not include the summarization of the chosen literary work.
Instead, you express your thoughts and feelings about the books, short story, play, or essay. This kind of writing helps you strengthen or clarify your thinking about your reading. What is a response to literature. Back to top, whenever and whatever you read, you have a response. You may like or dislike a character, think the article is boring, or disagree with a point made by the writer.
"To be responsible for the as yet nonexistent other is to be under an obligation" (pg. Imaginary or literary characters have rights too, or at least, they are supposed to, for the other' is a manifestation of the author's personality. To deny the other' any rights is somewhat similar to self-denial, and it is unethical to reduce your - or your main character's - literary opponent to a mere stereotype, as mentioned before, they need to be developed as well as the protagonist character gets. Conversely, if that other' is not an imaginary or literary character outright, but more of a literary response to someone else (hence the other then they are even more likely to have rights, not only in the literary, but also in the real world. That, then, is the matter of literary ethics, this is why we study them, and this is why Professor Attridge's paper is so important to these studies, for he confronts such issues directly, and without using any specific examples manages to get his message across. Works cited: Attridge, derek: "Innovation, literature, ethics: Relating to the Other.".
Almost any book, story, novel, or poem can take you to a different dimension. Yet some grab you from the beginning, while others leave you cold. What makes the difference? After reading a book or story, you probably express your own thumbs-up or thumps-down opinion. But have you ever tried writing your response for that work after reading it? Writing about your reading helps you explore your thoughts about a book. It allows you to respond to a text on a personal level-to agree with it, question it, and study. As a student of any language, one will naturally go through the literary works prevailing in that particular language. Everyone agrees that literature naturally stirs up thoughts, emotions, and feelings.
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After all, if the other' is an invention of the author in question as opposed to something that the author had "borrowed" (to follow on the"tion mentioned above then it is up to the author to decide just how much the other' will. Many authors had implemented that approach with varying degrees of success. Thus, the otherness' of the other' depends not only on the literary skill of an author, but on his or her own character and own ethical code. That, however, can be hard to do, for there is "no moral fuller or pragmatic ground for responsibility, there is also no philosophical ground" (Attridge, 28). "What is the ethical ground for attention to an affirmation of otherness, when the result of this effort may be without any humanly recognizable merit or indeed may serve inhuman ends?" Without such usual reasons for taking responsibility it is truly up to the author. A state of affairs that brings back the ethics once again. This time ethics' stand largely for personal judgement of character, both literary and the author's. ". Responsibility is an ethical term; it implies an ought Attridge wrote, driving his point directly home.
Finally, i could say that i am attempting to respond to the new ideas whose potential existence i intuit. (. 20-21) The"tion above english introduces three possibilities (according to Attridge) regarding literature: when one is writing down something new, that author is either creating or inventing that newness or he is responding to something different, something that Attridge generally identifies as the other'. That other as described in the greater part of the essay, is a literary stand-in for something that "is created by the other" (Attridge, 21 something that was created or invented by a different person, the other in question, put otherwise. Here it is when the ethics appear; for is it ethical to use another person's property, whether in real life or in literature, without asking permission? Since the modern society had invented the copyright laws, obviously not. Moreover, since sometimes the literary creation' (as suggested in the"tion above) includes people, (the other' in a more common sense of the term then ethics grow even more in importance in relation to literature.
Short Response to derek attridge's "Innovation, literature, ethics.". Eng414H1S 07/02/11 Dmitri kaminiar Prof. Short response to derek attridge's "innovation, literature, ethics.". To ignore ethics in the world of literature is to ignore them in real life (for literature is life's reflection and that is not a sign of a proper or an ethical person. Professor Attridge's essay "Innovation, literature, ethics." aims to deal with this situation, and it managed to explain, to show, and to prove. Still, while ethics are important in literature in general, there is one matter where they are especially prominent - in the matter of the other' (the otherness' or alterity according to professor Attridge). Professor Attridge starts talking about his concern regarding the other' straight away, as he points out in the following"tion: What exactly am I doing? Let me suggest three possibilities. I could say that i am creating, or at least attempting to create;. I could say that i am inventing, trying to be inventive, hoping to bring into the culture to which I belong a text that will have the status of an invention.
Schrank noted that from kindergarten throughout ones formal years of schooling, books have always been a mainstay, a potential tool, for organizing discussion about personal, social, educational and vocational development (p. Bibliotherapy has been shown additionally to have positive effects on students problem-solving ability, prosocial behavior, values development, interpersonal relations, acceptance of people different from themselves, and reading achievement (Cornett cornett, 1980).These studies along with personal testimonies about the effects of certain books (Cornett cornett, 1980. Child psychiatrist Robert Coles (1989) has explored in his qualitative research the ways childrens moral and ethical values develop. He has presented literature and art as important because they have the capacity to provide the moral imagination that can enhance growth. Experts from the field of library science, such as Judith rovenger (1988 have pointed to certain literary selections with a special capacity to provide ethical nourishment and the universal eloquence to time-release their e review of literature implies that bibliotherapy has possibilities beyond problem-centered interventions. As the school counselors role becomes increasingly associated with developmental programming (asca, 1979; Myrick, 1987 bibliotherapeutic approaches can also provide a wealth of resources for classroom is study examined the developmental effects of a bibliotherapy-based margaret classroom guidance curriculum. For the experimental group, titles were selected using criteria for quality developed by experts from the field of childrens literature. The control group participated in an equal number of lessons selected from age-appropriate guidance curricula currently used by school counselors).
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Bibliotherapy Essay, research Paper, childrens Literature as a resource for Classroom guidanceBibliotherapy is defined as a process or activity designed to help individuals solve problems or better understand themselves through their response to literature or media (Bodart, 1980). It consists of reading, viewing, or hearing revelation of material, followed by a discussion led by a facilitator. The therapy takes place during this dynamic interaction between the reader and literature. During the last 20 years, researchers and practitioners from the fields of counseling and library science have contributed valuable resources related to bibliotherapy. These resources suggest that bibliotherapy is a valuable tool for use with elementary school students. Although Baruth and Philips (1976) suggested that bibliotherapy has enormous possibilities in school counseling (p. 191 their focus was primarily problem-oriented and preventive. In a review of research, Schrank (1982) concluded that bibliotherapy is effective for attitude changes, mental health, self-concept development, and fear reduction.