How to Read Literature Like a Professor: A Lively and by Thomas C. Foster

By Thomas C. Foster

What does it suggest while a fictional hero takes a journey?. stocks a meal? will get soaking wet in a surprising rain bathe? usually, there's even more happening in a singular or poem than is instantly obvious at the surface—a image, perhaps, that continues to be elusive, or an unforeseen twist on a character—and there's that sneaking suspicion that the deeper that means of a literary textual content retains escaping you.

In this sensible and fun consultant to literature, Thomas C. Foster indicates how effortless and fulfilling it really is to unencumber these hidden truths, and to find an international the place a highway ends up in a quest; a shared meal could represent a communion; and rain, even if detoxification or damaging, isn't simply rain. starting from significant topics to literary versions, narrative units, and shape, the best way to learn Literature Like a Professor is the fitting significant other for making your examining adventure extra enriching, pleasurable, and enjoyable.

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Additional info for How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines

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The second, more indirect reference occurs at the 29 Cambridge Companions Online © Cambridge University Press, 2006 anne fuchs beginning of chapter 2 where he arrives at the conclusion that without his uncle’s intervention the American immigration officials would probably have sent him straight back to Europe without any regard to the fact that he no longer had a home. The implication here is that his parents dispatched him to the United States without a proper visa. From the very beginning he is thus an unwelcome outsider with neither a stable identity nor secure rights.

He liked strong, independent women: Bauer was ´ his second great correspondent, a pioneer in her profession; Milena Jesenska, an alumnus of the famed Minerva Girls High School in Prague, the first Gymnasium in Central Europe to teach girls the classical humanist syllabus and one of the first to grant them equality with boys by awarding them the Abitur. Kafka supported his younger sister Ottla in her bid to ‘marry out’ and defy the wishes of their parents. It is little wonder that identity and cultural dislocation, gender and politics feature so strongly in many of the chapters to follow in the Companion.

That this absence gives shape to Karl’s presence is also alluded to in the novel’s title: announcing the hero to be a missing person, Kafka not only prefigures Karl’s fate but, more importantly, highlights his and – by implication the reader’s – relationship to time past: the title is a figure of inversion which produces Karl Roßmann as a presence in the reader’s life. As long as we read about him he has not gone missing. However, on the other hand, this presence is always predicated upon a significant absence, a pervasive lack for which the suitcase is a powerful image.

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