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Yuki888 [10]
3 years ago
8

Not all paragraphs use topic sentences. O True O False

English
2 answers:
KATRIN_1 [288]3 years ago
6 0

Answer:

True

Explanation:

All paragraphs use topic sentences to introduce the main idea of the paragraph.

katovenus [111]3 years ago
4 0

False!

Hope this helps

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Do writers use a sequence of events to create suspense?​
ikadub [295]

Answer:

the longer of suspense tension builds,the more possibility the writer must create

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3 years ago
From the questions below, select the guiding questions of reader-response criticism
Novay_Z [31]

According to the questions, the guiding questions of reader-response criticism are:

-what about this text is remarkable or beautiful?

-what does the text teach the reader?

-how did the author achieve the beauty or a remarkableness of the text?

Explanation:

The literary theory of Reader-response criticism aims to focus on the reader or the scholar and encourage them to put in action their experience in literature.

The upper questions help the reader to be a critic in the response. The other questions, that are not included here, require a unique answer and there is no room for other answers.

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3 years ago
"This house is a closet," she said told her husband.
tensa zangetsu [6.8K]
It should be she told becasue its to someone
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3 years ago
Read 2 more answers
Choose a literary piece, either a poem or a short story then write a critique using reader-response approach of chosen piece.
sweet [91]

Answer:

To Misread or to Rebel: A Woman’s Reading of “The Secret Life of Walter Mitty”

At its simplest, reading is “an activity that is guided by the text; this must be processed by the reader who is then, in turn, affected by what he has processed” (Iser 63). The text is the compass and map, the reader is the explorer. However, the explorer cannot disregard those unexpected boulders in the path which he or she encounters along the journey that are not written on the map. Likewise, the woman reader does not come to the text without outside influences. She comes with her experiences as a woman—a professional woman, a divorcée, a single mother. Her reading, then, is influenced by her experiences. So when she reads a piece of literature like “The Secret Life of Walter Mitty” by James Thurber, which paints a highly negative picture of Mitty’s wife, the woman reader is forced to either misread the story and accept Mrs Mitty as a domineering, mothering wife, or rebel against that picture and become angry at the society which sees her that way.

Due to pre-existing sociosexual standards, women see characters, family structures, even societal structures from the bottom as an oppressed group rather than from a powerful position on the top, as men do. As Louise Rosenblatt states: a reader’s “tendency toward identification [with characters or events] will certainly be guided by our preoccupations at the time we read. Our problems and needs may lead us to focus on those characters and situations through which we may achieve the satisfactions, the balanced vision, or perhaps merely the unequivocal motives unattained in our own lives” (38). A woman reader who feels chained by her role as a housewife is more likely to identify with an individual who is oppressed or feels trapped than the reader’s executive husband is.

Mrs Mitty is a direct literary descendant of the first woman to be stereotyped as a nagging wife, Dame Van Winkle, the creation of the American writer, Washington Irving. Likewise, Walter Mitty is a reflection of his dreaming predecessor, Rip Van Winkle, who falls into a deep sleep for a hundred years and awakes to the relief of finding out that his nagging wife has died. Judith Fetterley explains in her book, The Resisting Reader, how such a portrayal of women forces a woman who reads “Rip Van Winkle” and other such stories “to find herself excluded from the experience of the story” so that she “cannot read the story without being assaulted by the negative images of women it presents” (10). The result, it seems, is for a woman reader of a story like “Rip Van Winkle” or “The Secret Life of Walter Mitty” to either be excluded from the text, or accept the negative images of women in the story puts forth.  

It is certain that women misread “The Secret Life of Walter Mitty.” I did. I found myself initially wishing that Mrs Mitty would just let Walter daydream in peace. But after reading the story again and paying attention to the portrayal of Mrs Mitty, I realized that it is imperative that women rebel against the texts that would oppress them. By misreading a text, the woman reader understands it in a way that is conventional and acceptable to the literary world. But in so doing, she is also distancing herself from the text, not fully embracing it or its meaning in her life. By rebelling against the text, the female reader not only has to understand the point of view of the author and the male audience, but she also has to formulate her own opinions and create a sort of dialogue between the text and herself. Rebelling against the text and the stereotypes encourages an active dialogue between the woman and the text which, in turn, guarantees an active and (most likely) angry reader response. I became a resisting reader.

Works Cited

Elias, Robert H. “James Thurber: The Primitive, the Innocent, and the Individual.” Contemporary Literary Criticism. Vol. 5. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 431–32. Print.

Fetterley, Judith. The Resisting Reader. Bloomington: Indiana UP, 1978. Print.

Hasley, Louis. “James Thurber: Artist in Humor.” Contemporary Literary Criticism. Vol. 11. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 532–34. Print.

Iser, Wolfgang. The Act of Reading: A Theory of Aesthetic Response. Baltimore: Johns Hopkins UP, 1981. Print.

Lindner, Carl M. “Thurber’s Walter Mitty—The Underground American Hero.” Contemporary Literary Criticism. Vol. 5. Ed. Dedria Bryfonski. Detroit: Gale Research, 1980. 440–41. Print.

Rosenblatt, Louise M. Literature as Exploration. New York: MLA, 1976. Print.

Thurber, James. “The Secret Life of Walter Mitty.” Literature: An Introduction to Critical Reading. Ed. William Vesterman. Fort Worth: Harcourt Brace, 1993. 286–89. Print.

Tompkins, Jane P. “An Introduction to Reader-Response Criticism.” Reader-Response Criticism: From Formalism to Post-Structuralism. Ed. Jane P. Tompkins. Baltimore: Johns Hopkins UP, 1980. ix-xxvi. Print.

7 0
3 years ago
Do you think television is a good invention? Explain why or why not?
Mila [183]

Answer:

Yes, it has made us not bored. But at the same time, no, it ruins our eyes.

Explanation:

8 0
3 years ago
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