HTRLLAP Test review

In this chapter Foster spends a lot of time discussing the many possible meanings, roles, and implications of geography upon a literary work. He gives one rule (in bold). It says, "When writers send characters south, it's

"...so they can run amok."

How does foster define his sue of the term "myth"?

"A body of story that matters."

What is Foster's short and immediate answer to the questions posed by this chapter's title?

"Of course it is."

Foster suggests that there is a "language of reading" made up of a "set of conventions, patters, codes, and rules that we learn to employ" when analyzing literature. What answer does Foster use to tell students how they can get better at understanding this "language of reading"?

"The same way you get to Carnegie Hall. Practice."

Obviously, Foster's point in this chapter is that Shakespeare's works are quoted, copied, and alluded to on a regular and frequent basis in Western literature, Why?

"[Shakespeare's] stories are great, the characters compelling the language fabulous."

In this chapter, foster asserts that when a character flies, it is always heavily symbolic. What does he say flight is symbolic of?

"flight is freedom"

Chapter 6: What is Foster's main point in this chapter?

Allusions to humble, familiar texts are as effective as those to the bible or Shakespeare.

According to Foster, eating scenes in literature are generally the author's way of.

Exploring characters and relationships between the characters

Who does Foster say is to blame for sexuality issures being explored in literary analysis?

Freud

To what modern-day illness does Foster devote a couple of pages near the end of this chapter?

HIV/AIDS

Which of these most closely summarizes foster's overall main point in this chapter?

If a writer has a character get wet somehow, it probably means something symbolic

In this chapter, Foster is careful to explain what he means by the statement "irony trumps everything." He says, "Every chapter in this book goes out the window when irony comes in the door." In other words, if a reader detects that a writer is using something ironically, that reader can no longer rely on what he or she knows about conventional symbolism. The reader will have to figure out what is meant by the ironic use, instead. According to Foster, what is the difficulty or problem with this?

Not every reader "gets" irony; irony doesn't work for everyone.

What psychological phenomenon does Foster suggest was discovered using the same combination of "symbolic ind, pattern observer, and powerful memory" That literary analysis requires?

Oedipal Complex

In his parting words to the reader, Foster admits that his discussion of symbolism in literature has not been exhaustive. In particular, he laments not getting to a discussion of the potential meanings of fire in literature. But then he concedes that the reader does not NEED him to explore every possible code/symbol/pattern in literature. What is the reason he gives?

Once the reader practices looking for patterns/codes/symbols, it becomes second nature.

Chapter 9: In this chapter, Foster discusses the implications of weather in literature. He discusses several different types of weather phenomena and their possible implications. Which does he spend most of the chapter discussing?

Rain

Which of these is closest to Foster's overall main point in this chaper?

Sex and sexuality are often not overly mention in literature, but symbolically instead.

Which of these most closely summarizes Foster's main overall point in this chapter?

Sex scenes in literature are rarely about the actual sex; they are generally about something more profound and symbolic

What short-short story does Foster use as the basis for the "test case" in this chapter?

The Garden Party" by Katherine Mansfield

According to Foster, why is the heart symbolically important in literature?

The heart is the symbolic repository of emotion.

What does Foster say is always the "real reason for a quest"?

To achieve self-knowledge

Foster offers these strategies:

Use what you know. & Every work teaches us how to read it as we go along. & You know more than you think you do.

According to Foster, vampirism in literature has to do mostly with...

exploitation

We want Strangeness in our stories, but we want _______, too.

familiarity

In this "interlude," Foster asserts that true originality in writing is impossible because, "There's only one story." What idea from an earlier chapter does this "interlude" invoke?

intertextuality

Characters are not

people

Sex can symbolize

pleasure, sacrifice, submission, rebellion & resignation, supplication, domination, enlightenment.

We generally recognize these features that make Christ who he is:

wounds in the hands, in agony, self-sacrificing, good with children, forgiving & thirty-three years of age, humble, a carpenter, spent time alone in the wilderness (among other things from the list in the text)

He [Shakespeare] means something to us as readers in part because he means so much to our....

writers