Thomas C. Foster in “How to Read Literature like a Professor,” explains how a character’s physical shape can be a symbol for something nonphysical they are dealing with. Foster explains that physical imperfections have, “to do with being different,” because, “sameness doesn’t present us with metaphorical possibilities, whereas difference-from the average, the typical, the expected-is always rich with possibilities” (Foster 202). In literature, a character is not given a scar or hunchback just because the author thinks it sounds interesting or appealing. That scar or hunchback has symbolic meaning to something going on in that character’s life that is mental or emotional and can be metaphorically represented through the scar or hunchback. Foster discusses how “Valdimir Propp,” in his, “Morphology of the Folktale,” says, “that the hero is marked in some way,” which sets him apart from others (Foster 202). Differences between characters in a story are there to set them apart from each other. The hero often has a scar or deformity that sets them apart so the reader notices them as someone important to the plot from the beginning. Physical deformity can also be used as a plot device such as, “Oedipus’s feet,” which were, “damaged from the thong that was put through his Achilles tendons when, as an infant, he was sent away to die in the wilderness,” because his parents feared, “the terrible prophecy that he would kill his father and marry his mother,” would come true and so, “his feet become the piece of evidence proving that his in fact the doomed infant” (Foster 204). In this tale, the deformity does not metaphorically represent anything, because it is used to move along the plot. If they had not damaged his feet then they probably would have never truly known who they were to each other and the story would not have the same conclusion. Foster does a great job of depicting how characters’ physical deformities have deeper meanings and that readers should pay attention to them.
In “How to Read Literature like a Professor,” Thomas Foster discusses character’s physical shapes in literature, and how they often mean much more than just a simple scar or birthmark presented at face value. Foster explains that readers “continue to understand physical imperfection in symbolic terms,” and how it has to do with how we perceive difference among individuals, how these imperfections stand out to readers (Foster 202). When imagining how characters are viewed, physical description is obviously important. Readers recognize physical imperfections that authors include for characters and immediately know this character is different, not only on the surface; however, it’s how and why they are different that makes the imperfections symbolic. In Ernest Hemingway’s The Sun Also Rises, the story’s main character Jake Barnes is a wounded war veteran, who’s wound “just north” of his upper thigh is symbolic of “the destruction of possibilities, spiritual as well as procreative, accomplished by the war,” according to Foster (Foster 205). Jake’s injury, while disabling him from procreating himself or ever being able to have children, also represents the destroyed opportunities from lives lost in the war. Just as with his injury, possible lives and resourceful members of society were taken away as result of the war. Foster explains how it’s “easier to introduce characters without imperfections;” however, “physical markings by their very nature call attention to themselves and signify some psychological or thematic point the writer wants to make,” so more often then not when authors introduce imperfections, they do so to make a point (Foster 208). Authors, for the most part, don’t just include physical imperfections on a whim, simply because they feel like it or think that it would make for an interesting character visualization. When characters are made different they are different for a reason, a meaningful reason, spiritual even, not just because a couple lost fingers make a good war story for a character. Physical shapes among characters are symbolic because they cause that character to stand out from the rest but on a deeper, more meaningful level than simply physical.
Thomas C. Foster in "How to Read Literature Like a Professor" explains how a character's behavior and physical shape go hand in hand. He says that "their shapes tell us something, and probably very different somethings, about them or other people in the story" (Foster 201). Foster describes how the looks of a character has a lot to do with his or her personality. He stated that the physical imperfections mainly represent "being different" and differences are "always rich with possibility" (Foster 202). Foster explains how most characters in stories that are heroes have some time of difference. He asks "how many stories do you know in which the hero is different from everyone else in some way, and how many times is that difference physically visible" (Foster 203). He provides the example of how in "Beloved" by Toni Morrison, the main character has scars and "these character markings stand as indicators of the damage life inflicts" (Foster 203). Foster goes on about how a physical feature can tell a lot about a character. He says that a physical problem will almost always mean something and that the author has a reason for mentioning it.
Thomas C. Foster in “How to Read Literature like a Professor,” explains how a character’s physical shape can be a symbol for something nonphysical they are dealing with. Foster explains that physical imperfections have, “to do with being different,” because, “sameness doesn’t present us with metaphorical possibilities, whereas difference-from the average, the typical, the expected-is always rich with possibilities” (Foster 202). In literature, a character is not given a scar or hunchback just because the author thinks it sounds interesting or appealing. That scar or hunchback has symbolic meaning to something going on in that character’s life that is mental or emotional and can be metaphorically represented through the scar or hunchback. Foster discusses how “Valdimir Propp,” in his, “Morphology of the Folktale,” says, “that the hero is marked in some way,” which sets him apart from others (Foster 202). Differences between characters in a story are there to set them apart from each other. The hero often has a scar or deformity that sets them apart so the reader notices them as someone important to the plot from the beginning. Physical deformity can also be used as a plot device such as, “Oedipus’s feet,” which were, “damaged from the thong that was put through his Achilles tendons when, as an infant, he was sent away to die in the wilderness,” because his parents feared, “the terrible prophecy that he would kill his father and marry his mother,” would come true and so, “his feet become the piece of evidence proving that his in fact the doomed infant” (Foster 204). In this tale, the deformity does not metaphorically represent anything, because it is used to move along the plot. If they had not damaged his feet then they probably would have never truly known who they were to each other and the story would not have the same conclusion. Foster does a great job of depicting how characters’ physical deformities have deeper meanings and that readers should pay attention to them.
ReplyDeletewith which they are dealing - try not to end in a preposition
ReplyDeleteand that readers should pay attention to them - awkward
Don't repost; just keep in mind
In “How to Read Literature like a Professor,” Thomas Foster discusses character’s physical shapes in literature, and how they often mean much more than just a simple scar or birthmark presented at face value. Foster explains that readers “continue to understand physical imperfection in symbolic terms,” and how it has to do with how we perceive difference among individuals, how these imperfections stand out to readers (Foster 202). When imagining how characters are viewed, physical description is obviously important. Readers recognize physical imperfections that authors include for characters and immediately know this character is different, not only on the surface; however, it’s how and why they are different that makes the imperfections symbolic. In Ernest Hemingway’s The Sun Also Rises, the story’s main character Jake Barnes is a wounded war veteran, who’s wound “just north” of his upper thigh is symbolic of “the destruction of possibilities, spiritual as well as procreative, accomplished by the war,” according to Foster (Foster 205). Jake’s injury, while disabling him from procreating himself or ever being able to have children, also represents the destroyed opportunities from lives lost in the war. Just as with his injury, possible lives and resourceful members of society were taken away as result of the war. Foster explains how it’s “easier to introduce characters without imperfections;” however, “physical markings by their very nature call attention to themselves and signify some psychological or thematic point the writer wants to make,” so more often then not when authors introduce imperfections, they do so to make a point (Foster 208). Authors, for the most part, don’t just include physical imperfections on a whim, simply because they feel like it or think that it would make for an interesting character visualization. When characters are made different they are different for a reason, a meaningful reason, spiritual even, not just because a couple lost fingers make a good war story for a character. Physical shapes among characters are symbolic because they cause that character to stand out from the rest but on a deeper, more meaningful level than simply physical.
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DeleteThomas C. Foster in "How to Read Literature Like a Professor" explains how a character's behavior and physical shape go hand in hand. He says that "their shapes tell us something, and probably very different somethings, about them or other people in the story" (Foster 201). Foster describes how the looks of a character has a lot to do with his or her personality. He stated that the physical imperfections mainly represent "being different" and differences are "always rich with possibility" (Foster 202). Foster explains how most characters in stories that are heroes have some time of difference. He asks "how many stories do you know in which the hero is different from everyone else in some way, and how many times is that difference physically visible" (Foster 203). He provides the example of how in "Beloved" by Toni Morrison, the main character has scars and "these character markings stand as indicators of the damage life inflicts" (Foster 203). Foster goes on about how a physical feature can tell a lot about a character. He says that a physical problem will almost always mean something and that the author has a reason for mentioning it.
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