Up to Snuff #128: Book List Mostly with Literary Theory Orientation

By, Afua Serwah Osei-Bonsu

Literary Theory  A Practical Introduction

Mikhail Bakhtin

Wordsworth

Logical Fallacies

Keats

The Knowledge Creating Company Ikujiro Nonaku

Enabling Knowledge George Von Krogh

The Innovators Dilemma When New Technologies  Clayton M. Christensen

Hanon

Chopin

The Seminar      Jacques Lacan

Foucault

Jane Austen

Julie Rivkin

Portrait in Georgia

Cane

Norton Anthology of Theory & Criticism   Vincent Leitch

Tracy Whiting

Metamorphosis Franz Kafka

Think like a monk, train your mind for peace   Jay Shetty

The Seagull Book of Poems

Literary Theory An Anthology Julie Rivkin

The Craft of Research  Wayne C. Booth

Professing Literature Gerald Graff

Mary Klages,  Literary Theory, A Guide for the Perplexed

Mary Klages, Key Terms in Literary Theory

Tacit Learning

Literary Review

Emily Dickinson

Biocentric Worldview  Ludwig Klages

Cosmogenic Reflections Ludwig Klages

Pygmalion George Bernard Shaw

Pratchett’s Women  Unauthorized Essays on Female Characters of the Discworld   

Billy Budd, Bartleby and Other Stories  Herman Melville

Leaves of Grass The Original 1855 Edition  Walt Whitman

The Essential Writings of Ralph Waldo Emerson

Literature Unit A guide for Where the Red Fern Grows  Patty Carratello

Literary Theory  Jerry Engleton

Beginning Theory Peter Barry

Literary Theory  Jonathon Culler

The Gothic Order Racial and Social Constructionism in The Literary Imagination

Ruth Bienstock Anolik

The Complete Frankenstein

Othello

Desdemona

Derrida

Lois Lowry The Giver

The Rime of the Ancient Mariner

Samuel Taylor Coleridge

Literary Mantels

Wolf Hall Trilogy

Not Writing, Anne Boyer

Garments Against Women,  Anne Boyer

Lucille Clifton

Naomi Shihab Nye

Rachel Mckibbens

Wizard of Oz

Glass Castle  Jenette Wells

Al Young  The Blues Don’t Change New and Selected Poems

Charlie Chaplin  Modern Times

William Blake

Buster Keaton

Herman Melville

Jane Austen

Joseph Conrad

T.S. Eliot

Albert Camus

Gabriel Garcia Marquez

J.D. Salinger

Alice Walker

Cynthia Ozick

Ralph Ellison

Paddy Chayetsky

Brave New World Aldous Huxley

George Orwell 1984

Animal Farm

Up to Snuff #127: Extracting Meaning, Creation of Knowledge, Consequent Value

Extracting Meaning, Creation of Knowledge, Consequent Value

By, Afua Serwah Osei-Bonsu

I am Afua Serwah Osei-Bonsu. A short version or nickname would be FaFa Bonsu.  A Ghanaian American who, resides in Ypsilanti, Michigan, USA. I am a Creative Writing English and Poetry major (CWE.POE).  I have been reading about ideological writing and Marx and recently reading Shakespeare, Edgar Allan Poe, Dorothy Parker, Sophocles-however I would like to get into some new areas.  I have been collecting spiritual literature.  I recently assembled a list of what is included in my spiritual library.  I will for this opportunity select Confucius from a Harvard Classic Reader.  I am aiming to get into some new areas and perhaps look at sacred or religious or sage writings.

What do I know about literary theory?  I am intrigued by the word theory alone.  I wonder what the word theory can imply.  Does it require proof like “justified true belief” or JTB or is it the un-established? Is it to perpetually establish?  If one says art theory versus literary theory, I suppose I want to be more- clear about what is suggested by that terminology.  I would love to write theory but feel still naïve.  If I were to write art theory, what is its approach, or have I already?  Is theory a scaffolding of ideas upon which or with its guidance one may arrive or question or analyze or create? If one may arrive, is it then theory? Theory may be some kind of wise guide. Theory may answer a kind of question, perhaps even how or why? A theory may result in a kind of questioning.  Or does it mean that there are established theories and one’s work becomes the analysis in response to the theories or the work that is derivative of the theories?  So, I guess there are two products, theories, and something else? Both can be written, the theory and the theories subsequent writing.  I enjoy both of those.  Or the art theory and the arts subsequent product and the products criticism.  Then there are three products. Perhaps you have the piece of literature as product one, then the theory laid upon it, then the resulting criticism and even the analysis of the variety of criticism. So, theory may have a trajectory, art and or literary.

What is my understanding of literary theory at this time?  It has to do with value, with the creation and manufacture of meaning itself.  There is at once the literature, whose secondary function may be its interpretation or its context and ultimately its meaning.  The extension of writing is the thought around it-its secondary, and that secondaries building blocks.  But then theory leads you not to take a sip, but a full drink.  Theory then becomes the octopus, the world view, the connecting points that make a defined way of thinking, a kind of enlightenment.   Theory helps you to extract meaning, look at purpose and reasoning or variations. (Klages)  Theory helps a writer to achieve a close reading.  Theory may guide one to look first at emergence, then at context, then conclude with results or relationships (Klages 5).  It can be like a scaffolding that becomes a boilerplate.  What can be impressive is when you extract meaning that becomes world view as in the example of “language, gender, and consciousness” (Klages 5).  Meanings extracted from literature can define movements or be existential.  Literature has left a trail, as if it were archeology or anthropological.  Literary theory then provides one a tool.

Literary Theory is perhaps the most significant factor in giving literature or the field of writing its value.  Extraction of meaning transforms writing into knowledge.  It transforms the entire field into knowledge.

I think you are correct in your estimation about the value behind “how does it mean, what does it produce and what effect does it have on us and the world? ”  It is as if it is one’s duty or task to ascertain the quality, value, meaning, the giving of a piece of literature.  The reasoning is interesting and the desire to learn from it, to grow from it and arrive at a knowledge juncture.  Perhaps certain techniques get you there, then get you there every time.  I suppose it is the scholar that wants to get there at all.

I am intrigued by when you wrote literary theory is whether it is or is not literature. Is that a prize, or bar or distinction, or quality?  Are you protesting that this fine Dystopian novel may for you have equal value? I have writings that I wonder how they will be classified, who is the classifier and what are the terms? What makes up the literary theory that classifies it?

Works Cited:

Klages, Mary. “Literary Theory: A Guide for the Perplexed” Edition 1.  Bloomsbury Publishing 2007-01-23, pp. 1-9

Up to Snuff #126 Book List Alliterative Verse (Poetry)

Up to Snuff #126 Book list Alliterative Verse (Poetry)

By, Afua Serwah Osei-Bonsu

 

William Langland-Allegorical Narrative Poem

Piers Plowman

Hildenbrand

Chaucer-Canterbury Tales

Sir Gawain and The Green Knight

Beowulf

Pearl

Alliterative Morte Arthure

St. Erkenwald

The Raven Edgar Allan Poe

Seafarers

The Rime of Ancient Mariner  Samuel Taylor

The Age of Anxiety W.H. Auden

The Three Dead Kings

Mum and the Sothsegger

Death be not proud

Songs for the Philologists

Sonnet 5

Sir Galahad

Up to Snuff #125: Book list literature, film and online

Up to Snuff #125:  Book list literature, film and online

By, Afua Serwah Osei-Bonsu

The Poetry Handbook, John Lennard, OUP, 2005

Plato’s Republic

Tacit Learning

(Shakespearean references)

Petrarch

Edmund Spenser

Thomas Watson

Michael Drayton

Barnabe Barnes

Richard Linches

Sir Philip Sidney

Wild Strawberries (Film)

Kennedy, John, “A Confederacy of Dunces,” Louisiana State University Press, 1980, p. 1

Poe, Edgar Allan, “Tales of Mystery and Imagination,

Poe, Edgar Allan, “Fifty Stories for Boys,”

“The Complete Stories and Poems of Edgar Allan Poe.”

Quotidian Writer (online/Youtube)

The Bell Jar, Sylvia Plath

The Long Winter

Robinson Cruscoe, Daniel Defoe

Agatha Christie

Fiddler on the Roof

Brave New World

Handmaids Tale

Asimov

Plato

Design Thinking Odyssey

Alice Walker

Grapes of Wrath

A Thousand Splendid Suns

Things Fall Apart

East of Eden

Memoirs of a Geisha

Windup girl

Willa Cather-My Antonia

Challenger Deep, Neal Shusterman

Ha Jin

John Updike

Up to Snuff #124: Book list some admired

Up to Snuff #124:  Book list some admired

by, Afua Serwah Osei-Bonsu

  • Plato
  • Edgar Allan Poe
  • William Shakespeare
  • Charles Dickens
  • Samuel Beckett
  • Somerset Maugham
  • Gustave Flaubert
  • Martin Luther King Jr.
  • Mahatma Gandhi
  • Karl Marx
  • Ha Jin
  • OSHO
  • Ryszard Kapuscinski
  • Ernest Hemingway
  • Design Thinking
  • James Baldwin
  • O. Wilson
  • Cultural Branding examples: (Arabian Nights, Wild Irish Rose, Don Quixote, Daphne DuMaurier)
  • Chaucer
  • Tertiary Sources and Resources
  • New York Times Op-Ed Writer
  • Frithjof Bergmann
  • Confucius
  • John Updike
  • Jack A. Hobbs & Robert L. Duncan
  • Pablo Neruda
  • Rumi
  • Thich Nat Hanh
  • Dalai Lama
  • Oscar Wilde
  • Deepak Chopra
  • Alice Walker
  • Voltaire
  • Balzac
  • Maupassant
  • AESOP
  • Lord David Cecil
  • Byron
  • Dylan Thomas
  • Hebrew
  • Christian
  • Jane Austen
  • Evelyn Waugh
  • Fyodor Dostoyevsky
  • Leo Tolstoy
  • Nikolai Gogol
  • Aleksandr Solzhenitsyn
  • Breton
  • Ionesco
  • Sartre
  • Kant
  • Hegel
  • Franz Kafka
  • Franz Fanon
  • Albert Camus
  • Mary Wollencraft Shelly
  • Emily Bronte
  • Daniel Keyes
  • Zora Neale Hurston
  • Anais Nin
  • Maya Angelou
  • Hans Christian Andersen
  • S. Lewis
  • Carlos Casteneda
  • Gita
  • Koran
  • Andrew Loomis
  • Baudelaire
  • Nietzsche
  • Octavio Paz
  • Henry Miller
  • Danielle Steele
  • Hermann Hesse
  • Keats
  • Chinua Achebe
  • Francis Bebey
  • Mongo Beti
  • Audre Lorde
  • August Wilson
  • TS Eliot
  • Chekov
  • Noam Chomsky
  • Martin Heidegger
  • Aristotle
  • Euripides
  • Falun Gong
  • Jose Saramago
  • Rosario
  • J Spiro
  • Hugo von Hofmannsthal
  • Mathew Arnold
  • Yusef Komunyakaa
  • Ruth Prawer Jhabvala
  • Richard Powers
  • Ngugi wa Thiong’o
  • Michel Butor
  • Linda Hogan
  • Larry Woiwode
  • Jayne Anne Phillips
  • Vergil
  • Twentieth-Century British Drama, Patricia Marks
  • Spanish Drama since 1600’s Frank Casa
  • Sven Rossel Scandinavian Poetry
  • Russian Poetry Mitzi, Brunsdale
  • Renaissance Drama Jean-Pierre Barricelli
  • William Haggard
  • Leon Lewis Native America Short Fiction
  • Nobuko Toyosawa
  • Tulsidas
  • Jean-Marie Morel
  • Bharatchandra Raj
  • Margaret B. Wan
  • Paul Andersen
  • Malik B. Asas
  • Maram Epstein
  • David W. Burchmore
  • Juliet Mullins
  • John Tzetles
  • Giovanni Giovaiano Pontano
  • Abril Fazl
  • Observation & Experiment Paul R. Rosenbaum
  • Ingenius Peter Gluckman
  • John Danaber

 

 

Up to Snuff # 123: Close reading of literature list

Up to Snuff #123:  Close reading of literature list

By, Afua Serwah Osei-Bonsu

 

A slow detailed examination of a text

-Form

-Content

-Figurative content

-Characters

-Time

-Ironic/sentimental

-Humorous

-Context

-One section, larger work

-Relate to definition of larger work

-Context

-Historical

-Cultural events

-Image, similes, meaphors

-Diction

-Etymology

-Secondary definition

-Literal content

-Structure organized

-Style

-Pattern, rhythm, sentence, form, rhyme

-Unconventional grammar

-Stanza

-Equal weight

 

Works cited:

Richard Abercarian, Marvin Klotz and Samuel Cohen, eds. Literature:  The Human Experience:  Reading and Writing.  New York:  Bedford/St. Martin’s, 2016, Print

Up to Snuff #122: Dissecting a piece of literature list

Up to Snuff #122:  Dissecting a piece of literature list

by, Afua Serwah Osei-Bonsu
-Textual evidence

-Literary devices

-Literature in general

-As a study of a technique for improving one’s writing

-Sources of effectiveness

-Language of the essay

-Energize abstract ideas

-Details moving experience

-Use figurative language

-Metaphor and similes

-Physical and emotional language

-In the prose

-Tone of voice

-Stylistic choices it creates

-How author moved to point of view

-Thesis, tone, style

-Rhetorical strategies

-Major visions

-Transitions

-Begin and conclude

-Comment

-Narration

_-Description

-Classification

-Comparison

-Contrast

-Analogy

-Cause and effect

-Definition

-Unifying ideas

-Structures

-Unwrite

-Thesis

-Means

-Technique

-Type

-Narrative

-Descriptive

-Expository

-Argumentative

-Function

Serve authors purpose

 

Works extracted/cited from:

Richard Abercarian, Marvin Klotz and Samuel Cohen, eds. Literature:  The Human Experience:  Reading and Writing.  New York:  Bedford/St. Martin’s, 2016, Print

Book Review: Shakespeare’s Sonnet 130

Book Review:  Shakespeare Sonnet 130

By, Afua Serwah Osei-Bonsu

Shakespeare, perhaps responding the 16th century Elizabethan “sonnet craze,” wrote Sonnet 130. (grin.com) Negated lines, contrasting the periods classical themes of ideals for beauty love and desire appear in his traditional iambic pentameter.  At the finish, the satirical poem reveals a “tenor,” or “target domain” and Shakespeare’s beauty becomes a man.  (grin.com)

Shakespeare’s Sonnet 130 utilizes many literary devices including alliteration, assonance, and repetition.  Some words use consonants close together (alliteration), other lines use words that have similar vowels as in “assonance,” and lastly for emphasis the writer employed repetition where he repeats actual words like “red” or “wire.” (Owlcation)  Most delectable is Shakespeare’s use of “anastrophe,” which highlights the inversion or order of words and draws the reader into to its midpoint.  Anastrophe may have conveyed a secondary meaning where the writer has inverted the sentence structure and fundamentally the traditional subject or ideals of the age-inverting woman for man.  (owlcation/humanities)

The piece was compared to Petrarch and the conventional Italian Sonnet, as well as English poet Edmund Spenser. (grin.com) Other poets have been cited in comparison or as he their disciple, such “Thomas Watson, Michael Drayton, Barnabe Barnes, Richard Linches and Sir Philip Sidney.”(Mowat 1)  Where traditional themes for hair, lips, skin were employed and common comparisons were meant to seem as if “falsified” or unworthy of comparison.  Shakespeare’s “tenor” eventually emerges, full of contrast, with love perhaps unimaginable, without praising beauty but suggesting inadequacy or contrary.  The poem is typical of an English love sonnet with 14 lines, three quatrains and concluding with a heroic couplet. (owlcation/humanities) It uses an “abab cdcd efef gg structure.”  It ends in “stopped lines and has breaks in syntax.” (owlcation)  Lines appear as similes with consistent negative comparison.  The poem utilizes an overt “lyric I,” and is written in the first person singular.  (grin.com)

Shakespeare’s Sonnet 130 has meter and rhyme and relates strongly to the history of the love sonnet. Shakespeare perhaps challenging an Elizabethan status quo which had become predictable, wrote sonnets 127-154 to this “mysterious dark lady.” (owlcation) The mysterious dark lady may have possibly been a real-life lover. (owlcation) Sonnet 130, is meant to be a radical in a time period where traditional poets are often alluding to the ideal woman who is compared to sunlight and roses, and who in this case, may not have had a soft gait, but a thud.

Works cited:

Shakespeare, William. “Sonnet 130,” Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print. p.838

Abcarian, Richard, Marvin Klotz, and Samuel Cohen, eds. Literature: The Human Experience: Reading and Writing. New York: Bedford/St. Martin’s, 2016. Print.

https://www.grin.com/document/372431 An Analysis of Shakespeare’s Sonnet 130. The concept of love and beauty, Bergische Universität Wuppertal  (Anglistik und Amerikanistik) Introduction to Literary Studies,  2017

https://owlcation.com/humanities/Analysis-of-Sonnet-130-by-William-ShakespeareNorton Anthology, Norton, 2005

https://en.wikipedia.org/wiki/Sonnet_130

Up to Snuff #121: Literary Device Notes

Up to Snuff #121:  Literary Device Notes

By, Afua Serwah Osei-Bonsu

Plot-

Rising action, climax, falling action

Arrangement connective sequence of narrative events

Series of events

Character-

Usually one main protagonist, usually 3, not more than three characters, short stories limit number of characters, one fleshed out or round character, many other two dimensional or flat, depends on tone, plot, theme, setting, characters rendered, how character is revealed through eg. litanies, draws on what?

Setting

“~Time, place and mood, when and where and under what circumstances “

“restricted geographical setting.”  “In a single place within a short period of time”

“Within a social situation.”

Tone

“~Specific attitude or perspective one adopts with regards to a specific character or place or development”

Theme-Meaning of subject, underlying idea or statement about its subject

Prose-ordinary unrhymed language

Narrative-Has to do with actual stories or writings that include narration

Point of View-eg. First person narrative singular- (I,my)

First person plural (we, are)

Third person point of view-(she, he, they)

Omnipresent narrator-moves around in space and time

Limited omnipresent narrator-expresses emotions single character

Second person-(you)

Irony-manipulation of narrative perspective, authors decisions, gaps, overstatement verbal irony, dramatic irony

Figurative-non-literally, in order to achieve a special effect

Metaphor-one thing compared to another

Simile-one thing is like another

Personification-human qualities to ideas or things

Allusion-associations to persons, places or events

Symbols-Anything that stands for something else

Rhyme-sound patterns of stressed vowels

Alliteration-repetition of a consonant sound

Rhythm-relationship stressed and unstressed syllables, recurrent or similar rhythm is poems meter.

Most literary device notes extracted from:

Richard Abercarian, Marvin Klotz and Samuel Cohen, eds. Literature:  The Human Experience:  Reading and Writing.  New York:  Bedford/St. Martin’s, 2016, Print

Up to Snuff #120: Range

Up to Snuff #120:  Range

By, Afua Serwah Osei-Bonsu

Library keyword Search, creative writing, indicative of range:

  • Fiction family life
  • American Fiction
  • Young adult fiction
  • Critique
  • Collaboration
  • Screen Production
  • Creative Literary Translation
  • Interdisciplinary Research
  • Comparative Grammar
  • Autobiographical
  • Exploring Freedoms in writing
  • National Curriculum
  • Thematic Analysis
  • Storytelling
  • Research
  • Multilingual Writing
  • Creative Writing Theory
  • Critical Theory
  • Art, Literature, Ethics
  • Pedagogy
  • Detective Fiction
  • Church Liturgy
  • Expressive Writing
  • Modern Civilization
  • Print and Broadcast Journalism
  • Rhetorical Analysis
  • Transcription
  • Qualitative Research
  • Journal
  • Conversation Analysis
  • Social Impact
  • Literary Reviews
  • Literary Criticism
  • Short Fiction
  • History
  • Novelist
  • Narrative History
  • Editorial
  • Social Science Theories
  • Romance
  • Digital Writing
  • Evaluate
  • Educational Philosophy
  • Transdisciplinary
  • Professional Habitus
  • Emancipatory
  • Data Analysis
  • Neoliberalism
  • Newspaper
  • History & Criticism
  • Victorian Period
  • Research starters
  • Biographical
  • Woman Authors
  • Twentieth Century British Drama
  • Spanish Fiction
  • Spanish Drama
  • Short Fiction Late Nineteenth Century
  • Short Story
  • History Instruction
  • Literary History
  • Cultural History
  • Divergent Thinking
  • Cognitive Complexity
  • Educational Measurement
  • Social Skills
  • Theory Building
  • Path Analysis
  • Criterion Theory
  • Physical Models
  • Anthropology
  • Communication and Media Studies
  • International Relations
  • Public Policy
  • Social Policy
  • Social Work
  • Sociology