Đang tải... (xem toàn văn)
Các cách để phân tích một bài văn hiệu quả. Dành cho các bạn chuyên ngành ngữ văn anh Khoa Học Xã Hội và Nhân văn. đặc biệt là dành cho ôn thi tốt nghiệp. với các cách phân tích và hiệu quả, bạn có thể dễ dàng hiểu và đạt điểm cao trong kỳ thi.
10 Honors/Academic English Literary Analysis: Name: _______________________________________ THE BIG (Basic Elements of Literature) PLOT – CHARACTER – SETTING – POINT OF VIEW – THEME "How can a story be analyzed, and what am I looking for in it?" When you analyze a literary text, you will deal with basic elements of literature, like plot, theme, character, point of view, and setting. Literary analysis is also known as literary criticism. In this context, "criticism" means a close reading and interpretation of a literary text, such as a poem, a short story, a play, a novel, or even a movie. The elements that make up a literary work are closely examined for their meaning and significance. Some of these elements are theme, character, and plot. Regardless of what aspect you choose to discuss, your analysis will focus on one controlling idea that, if writing, can be stated in one direct sentence. For example: "Although most critics regard Shakespeare's Antony and Cleopatra as a great love tragedy, it is actually a mockery of a tragedy, for Cleopatra is incapable of love, and Antony is interested only in sex." This student then introduces evidence from the play to prove her central controlling idea / thesis. Following are some thoughts to keep in mind when you analyze literary texts: 1. Plot Summary Sometimes, students will be assigned a plot summary as a formal essay, as prewriting that will lead to a deeper analysis, or as part of a longer analysis (such as in a research paper). climax D rising action falling action (or denouement) DD exposition resolution The above structure is called a Freytag Pyramid and is used as a basis for analyzing plot. Each of the above levels must be examined in relation to the story being read. Remember that both the events in the rising action (each event is called a complication) and the climax can be physical, mental, or emotional. In addition to the terms on the “Pyramid,” a few others must be taken into consideration. Time -- Part of plot is how the author chooses to structure time. Many times an author opts to tell a story out of chronological sequence, perhaps with flashbacks. In addition, many authors employ foreshadowing to offer hints to future events. 2. Character Analysis / Characterization What kind of person is the character being analyzed? This is an inference you make based on the following: 1. What the person says (what he or she says need not be taken at face value; the person may be hypocritical, or self-deceived, or biased). 2. What the person does. 3. What others (including the narrator of the story) say about the person. 4. What others (their actions may help to indicate what the person could but does not do). 5. What the person looks like - face, body, clothes (these may help to convey the personality, or they may in some measure help to disguise it). 6. Determine the character's appearance, personality, and ethical qualities. 7. Use descriptions of other characters sparingly (comparison/contrast) to make your point about the main character(s). Sometimes the environment (setting) even functions as a character. Also, there are some terms of characterization that are important to consider: 1. Protagonist – the lead character 2. Antagonist – the character who operates in opposition to the lead character (Either or both of these can be human, animal, or a force of nature) 3. Round/Complex character – interesting character, can’t be “second guessed” 4. Flat/Simple character – not very interesting, often a stereotypical character 5. Dynamic character – evolves as the story progresses 6. Static character – stays the same throughout the story 3. Setting In simple terms, setting is the time, place, and social reality within which a story takes place. We have to understand where we are, in which period of time, in which society and at which level in that society if we are to interpret correctly the other elements in the story. In stories in which place is the important element of setting, the writer usually provides specific, sometimes extended descriptions of the place. In other stories, the treatment of time is more significant than place. In literature, time functions in three different ways: the period of time in which a story takes place, how much time passes during the plot of the story, and how the passage of that time is perceived by the lead character (such as, if he or she is having fun time goes quickly, but if he/she is lonely or worried time drags). Just as important as time and place, is the social context of a story, which is often a product of time and place. We must understand enough about the society— its customs, values, possibilities— to know what constraints the characters face, what they are free to chose, and what they may not do. 4. Point of View Point of view is the perspective from which the reader will view the events in a story. Each potential point of view has significant advantages and corresponding limitations. An outside point of view provides greater flexibility and suggests a greater sense of objectivity. An inside point of view provides more intimate, often more involving, narration. Following are the main points of view used by writers: Third-person omniscient – lets the reader know all that is being said, done, thought, and felt by all characters. This gives a full over-view, yet prevents the reader from “identifying with” any particular character. Third-person limited omniscient- lets the reader know all that is being said, done, thought, and felt by only one character. This encourages emotional involvement between the reader and character. Objective –limits the reader exclusively to exterior reality (what can be seen or heard). The thoughts, fears, loves, feelings of no characters are available, and there is no interpretation or comment. First-person – when a character within the plot is telling the story. This point of view can allow readers to see either a very clear picture of what is going on . or to see a misleading one. How reliable is the narrator? Does he/she mean to tell the truth? Does he/she have emotional biases that make for unreliability? Does he/she have the maturity and experience to know what is truly going on? 5. Theme Theme is the central idea and/or universal truth that is the main focus of the story. • Theme should be stated in one sentence. • The theme should be stated as a generalization about life, not as reference to a specific character or action in a story (for example, if a story includes a major action of robbery and the results of that action, the theme might be that negative behavior of that sort doesn’t pay off in the long run). • Theme(s) is/are the central and unifying concept(s) of the work. • Statement of theme should not be cliché. • The statement of theme could be applied to many other situations and pieces of art – both imagined and experienced. Now the PLUS 6: How to Read More Deeply in More Steps 1) Figurative language. As you are reading, make note of expressive language such as similes, metaphors, and personification. Then consider why the author employs these devices. Here’s a brief definition of each term and an example: Simile. A simile is a comparison of two terms and frequently uses the words like or as. For example, in John Steinbeck’s short story “The Chrysanthemums,” he writes of the character Eliza: “She crouched low like a fawning dog.” The image gives the reader a clear indication of Eliza’s state of mind as she reaches out to the peddler for acceptance. Literary works are replete with similes, so being aware of their presence and possible meanings will aid your critical analysis. Metaphor. A metaphor is a comparison of two seemingly unrelated subjects. In Toni Morrison’s novel Beloved, her character Paul D.’s pain is expressed in a metaphor: “He would keep his heart where it belonged: in that tobacco tin buried in his chest where his red heart used to be.” Metaphors are used to give language color and depth and to impact the reader’s senses. Personification. Personification is the granting of human traits to objects or animals. When Nick in Fitzgerald’s The Great Gatsby describes the trees in his hometown as “friendly,” he is giving human qualities to an object that obviously cannot “feel” anything, friendly or otherwise. But for the reader, personification provides yet another way to understand the author’s intent. 2) Structure. Many times an author opts to tell a story out of chronological sequence, perhaps with flashbacks or integrated tales. Faulkner does this in his short story “A Rose for Emily.” The purpose of the nonlinear structure is for the reader to understand, in retrospect, how prior events led to the discovery of Emily’s dark secret and how the town’s complicity contributed to her death. Amy Tan’s novel The Joy Luck Club uses flashback and multiple voices in the narrative to create a new perspective on immigration. 3)Style and Language • How would you describe the choice of words and their arrangement (the style) in this work? Does the author call attention to the way he or she uses words, or is the style inconspicuous? • What are the various connotations (shades of meaning, or emotional suggestions) of key words in this work? • If dialect or colloquial speech is used, what is its effect? Is the level of language appropriate for the speaker or characters in the work? • Are there statements or actions in this work that are presented ironically (that is, there is a discrepancy between appearance and reality, or between what is said and what is intended)? • Is the style consistent throughout the work or does it shift to a different style (more formal or less formal, for example)? • Is the style suitable for the subject and theme of the work? Does it contribute to the meaning of the whole or hinder the reader's understanding? • If you are reading a translation of a foreign work of literature or a modern translation of an older English work, what limitations or difficulties are created by your lack of contact with the author's original language? 4) Archetypes. Your critical reading should also include an awareness of archetypes. Archetypes are things patterned after an original, and many are so common that you often don’t need extensive knowledge of the original to appreciate the meaning. For example, Cervantes’ Don Quixote is an example of the most notable of archetypal “buddy pairs”; both the Don and his sidekick Sancho Panza are clueless but essentially wellmeaning characters who stick together (even when they'd prefer not to). Friends who rely on one another through thick and thin are a staple of literature—from John Steinbeck’s Of Mice and Men to Jack Kerouac’s On the Road. Character archetypes: Along with the buddy pair, common character archetypes include the Christ-figure (Simon in Lord of the Flies), the scapegoat (Darcy in Pride and Prejudice), and the hero who saves the day (Homer’s Odysseus or J. K. Rowling’s Harry Potter.) Situation archetypes: Situational archetypes include the quest and the pursuit of an elusive goal, whether that quest is King Arthur’s relentless pursuit of the Holy Grail or Frodo’s search for the ring in Tolkien’s trilogy. Another readily identifiable situational archetype is the loss of innocence, such as Huck Finn’s evolving racial awareness or Holden Caulfield’s recollection of the harsh realities of adulthood. Initiation is also a frequent situational archetype. In fact, Hemingway’s short story “Indian Camp” combines both the initiation and loss of innocence archetypes: Nick, the young protagonist, must be initiated into the world of sexuality by witnessing its most profound product—childbirth. At the same time, he is stripped of any romantic illusions about a woman’s body. 5) Symbolism. Ah, the most dreaded word for many a reader. What is a symbol and how can you identify one in literature? A symbol typically encompasses both a literal meaning and a figurative meaning. Unlike a metaphor, a symbol is not necessarily a statement: a single word can evoke meaning and become a symbol. Being aware of common symbols in novels will increase your ability to read a work critically. Spring, for example, is often a symbol of renewal; conversely, winter often symbolizes a figurative death. Fitzgerald’s short story “Winter Dreams” is heartbreakingly rendered from the outset by the symbolism of its title. We know that the harsh, symbolically loaded word winter offsets the fragility and hope of the word dreams. Other common symbols include lightness and darkness, the Christian cross, the Star of David, and the Nazi swastika. The more symbols you are able to identify, the richer your critical interpretation will be. 6) Read and reread. Resist the impulse to assess a work after you first read it, even if you have diligently completed the first five steps given here. A thorough critical analysis cannot be accomplished until you’ve reread the work.