How To Read Literature Like A Professor Spark Notes

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One page is a great way to get students to think back on what they have read. Whether you use it as a link between your unit and the main paper, or as an assessment on its own, it can be of great value in getting students to think critically and creatively.

How To Read Literature Like A Professor Spark Notes

So what is a page? Well, it’s pretty simple, really. Students design a page of paper that displays the key elements of whatever they have read. Using their own quotes, words, drawings, symbols and colors, they highlight important themes, symbols, moments and characters on the page.

In The Beginning Was The Psilocybe, The ‘flesh Of The Gods’

But it’s not always easy for students to dive in and start a project like this. I have found that providing a clear template and specific instructions helps the class remove the aggravation that some students feel when faced with such an open-ended project. Especially students who usually reject the word “art supplies”.

Or you can create your own template. I like to use the shape tool in Powerpoint to lay out the pages, then enter instructions for each section on a different page to photocopy back.

If you want to be specific, you can create a one-page assignment that focuses closely on a topic that you will later use for a paper or essay prompt.

For example, asking them to create a page based on a theme makes a great prewriting assignment. As they outline important themes throughout their paper, find relevant passages and related character development and symbolism, they will gather everything they need to write a great paper without even knowing it.

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One of the best ways to understand what a single page can do for you, and how your students can use it, is to look at a sample gallery. Check out this great roundup on my blog to see this creative strategy in action.

Betsy loves to travel the world (she’s coming back, Morocco!), play playdoh with her little one, and cook all kinds of desserts that would make the Hogwarts house-elves proud. If you’re interested in creative teaching strategies, check out his podcast “The Spark Creativity Teacher Podcast” on iTunes and join his Facebook group “Creative High School English.” Prefer Pinterest? Instagram? He wants to meet you there too!

If you find yourself falling in love with one-pagers, check out the full range of one-pagers from Spark Creativity. You’ll find an “About Me” one page for getting to know your students, as well as a one page for podcasts, movies, and vocabulary. Introduction Preface Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Interlude: Does he mean it? Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Interlude: A Story Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27 Postlude Envoy

All surface reading themes vs. Deeper Reading Symbols and Metaphor Archetypes and Intertextuality Pattern Recognition of Literature, Life and Society

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Instantly download all 1748 LitChart PDFs (including How to Read Literature Like a Professor). Teacher’s edition. Teach your students to analyze literature like to do. Detailed descriptions, analysis and citation information for each important passage about. The original text plus a modern side-by-side translation of each of Shakespeare’s plays.

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The introduction begins in Foster’s college classroom, where he and students are discussing Lorraine Hansbery’s play A Raisin in the Sun (1959). Students are often surprised when Foster suggests that Mr. Lindner represents the devil, and when the protagonist, Walter Lee Younger, mr. Lindner to buy Younger’s claim to his home is a narrative allusion to making a “deal with the devil.” Foster explains that this trope runs throughout Western literary culture, for example in many versions of the Faust legend. However, unlike in Faust, A Raisin in the Sun depicts Younger as refusing to make a deal and sell his soul to the devil. So, Hansberry uses the usual storyline but adds his own twist.

Throughout the book, Foster shows that he understands students’ skepticism towards the literary analysis he presents. By showing step by step how he came to the conclusion that Mr. Lindner represents the devil, Foster allows the reader to better understand how this type of “deep reading” works. Indeed, an example of this analysis includes symbols, archetypes, myths, intertextuality and religious imagery, all of which will be explained in the next chapter.

Ignore The Purists

When a professor suggests an interpretation of a literary work that a student finds unreasonable, this is a “communication problem.” Although the professor seems to be creating an interpretation without real evidence, he is actually just using the “language of reading.” This language is a way of talking analytically about literature, “a set of conventions and patterns, codes and rules.” The language of reading is arbitrary, but so is any language, and indeed any artistic convention deemed important in a particular culture.

Foster’s characterization of misunderstandings between students and professors as “communication problems” is significant. The problem is not that the professors are smarter or more sophisticated thinkers than the students, but that they just use a different language. If the students become familiar with the language, they will also be able to read like the professor.

The best way to understand this reading language is through practice. When people read, they are primarily interested in following the plot and allowing the story to affect them on an emotional level. When professors read, they may have an emotional response to the text, but their focus is on how the text works. This means they will look for patterns, symbols, references and other literary devices. While neither method of reading is right or wrong, reading like a professor will ultimately make for a deeper and more satisfying experience of literature.

This section explains the difference between surface reading and deep reading. Note that deep reading is not only a more complicated practice, but also a productive one; it includes creating something (interpretation), as opposed to passively consuming the author’s words. While some people claim that deep reading makes literature less enjoyable, Foster argues otherwise, suggesting that deep reading makes for a better experience.

Long Time Chemistry Research Course Continues To Light A Spark For First Year Students

There are three main elements of reading that separate professors of literature from lay readers: memory, symbols, and patterns. Professors are always looking for “correspondences and corollaries” with other texts, and will assume that elements of the text have symbolic meaning, rather than waiting for it to be proven beyond doubt. Meanwhile, pattern recognition requires you to step back from the “foreground” of the text to analyze its structure and identify repetitions, rhythms, archetypes, and other devices at work.

Memory, symbol and pattern are the three most important words in this book. Although they work together, they are all different and require different skills. This means that even if a reader has, for example, a poor memory, he can still produce excellent literary analysis by mastering the art of recognizing symbols or seeing literature structurally.

“My students didn’t get enough of your cards and their results went through the roof.” – Graham S.

Foster presents examples of how the “symbolic mind” can function not only when reading literary works, but also in real-life situations. Suppose you meet a man who hates his father and seems too attached to his mother; then you meet another man who exhibits the same qualities, and then another, and another. Symbolic imagination will enable you to identify this man as a “type”, and using your reading language and knowledge of literature can help you identify this type in relation to the “Oedipus complex” (unconscious sexual desire for one parent and hate. /jealousy. of others). Indeed, Sigmund Freud created the Oedipus complex by “reading” his patients the way a professor reads a work of literature—that is, by looking for patterns, symbols, and correlations. With practice and practice, anyone can perfect these skills and use them to draw their own conclusions about literature and life.

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This quote serves as a good example of how reading like a professor can be useful outside of the classroom. “Symbolic imagination” helps people recognize patterns not only in literature, but also in real life, thereby creating a deeper understanding of the world around us. The example of Sigmund Freud proves that the “language of reading” is also useful in other disciplines. This relationship helps to demonstrate the value in literary studies, reminding the reader that literature does not exist in a vacuum, but in constant dialogue with life and society.

“Won’t pass AP Literature without a printable PDF. They are like being in a classroom

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