It’s like, if you’re in an astronomy lecture, they’re going to give you some facts about the composition of a planet, or its atmosphere, or whatever. But then, there is a second, sort of, less mystical reason, and that’s that these are the facts of a literary argument, these words that I give to you. That’s going to be the gist of my argument today. Our writer for today thinks so highly of that capacity of literature to embody the human voice that he imagines a whole religious world around him. So, to get a sense of that, you have to have it in your ear and feel the sound and the rhythm and the quality, the timbre, the expression of the voices that we have in these novels. Literary art is a verbal art, and I think too often we only read it silently probably not since you were children that people read to you so much. Why do I do it? Well, there are two reasons, one because I want you to hear literary art. You may have noticed that I am very fond of reading aloud to you from these novels. It’s useful to you when you think about writing a paper to remember, if it’s been a long time since you’ve written an English paper, or even if it isn’t a long time since you’ve written an English paper, that the facts that we, literary critics, and you, writers on literature, the facts that we deal with are the details of the text itself. We have just the one day on this novel, and what I’m going to be doing for you is modeling the way literary critics use evidence to advance an argument. It is really going to give you a whole packaged reading of Franny and Zooey. It is going to give you a way into Franny and Zooey, but it’s going to actually give you more than a way into it. Professor Amy Hungerford: In light of the fact that I have just sent you paper topics, my lecture today is going to do two things. Forming a Literary Argument: Advice for Paper Writing The American Novel Since 1945 ENGL 291 - Lecture 10 - J.

Steve mccurry stories and dreams