Assignment Two: Use the following words/phrases from Chapter 2 in an original way as you describe the possible importance of eating in literature: apocryphal, anecdote, intone, communion, breaking bread, sedate. (50 words)
The chapter opens up with an anecdote about Sigmund Freud when one mans responds to another saying "sometimes a cigar is just a cigar" Foster prefers that this be apocryphal or of doubtful since made-up anecdotes have their own kind of truth. When reading acts of communion one may sometimes play under consideration to intone their voice. A communion is when people eat and drink together and it is not usually religious, but is an act of breaking break or showing peace and community. A failed meal carries very negative connotations. Foster gives sedate examples of those who enjoy a meal together and those who decide to drink or pass a joint to show another side of communion.
The paragraph should still follow the required structure noted in your Summer Reading requirements. You should always state the author and title and follow the required concrete detail-commentary details as well. Be sure to conclude paragraph as well. Revise and repost.
Thomas C. Foster in, “How to Read Literature like a Professor,” describes the importance of eating or sharing a meal in a work of literature. Foster explains that “sometimes a meal is just a meal, and eating with others is simply eating with others” (Foster 7), but “more often than not, though, it’s not” (Foster 7). Sometimes in literature an anecdote involving the sharing of a meal represents nothing more than a shared meal that is part of the story but serves no real importance to the meaning. In a plethora of these stories, though, the eating is the main factor because the anecdote is apocryphal and the meal actually represents a deeper truth or meaning that is something else entirely. Foster continues by explaining that “whenever people eat or drink together, it’s communion” (Foster 8) and not necessarily the communion associated with Christianity, but the kind “in the real world [where] breaking bread together is an act of sharing and peace” (Foster 8). The act of breaking and sharing bread is associated almost always with the practice of the Lord’s Supper at church where bread and wine are shared and consumed to worship God, which is called communion. Communion in literature still deals with the sharing of food, but focuses more on the exchange of intimate feelings. Also Foster intones his point about communion being in literature to convey the importance in understanding communions in literature. The author explains differing communions by giving examples like “Henry Fielding’s Tom Jones (1749)” (Foster 9) where the meal is, “ a kind of communion [that is] very private, admittedly, and decidedly not holy” (Foster 9) and “Raymond Carter[‘s]” (Foster 9) story, “Cathedral” (Foster 9) where food allows the character, “to [go] from the nasty, prejudiced, narrow-minded person of the opening page to the point where he can actually have a blind man’s hand on his own at the ending” (Foster 10). Both examples provide instances where a meal, communion, brought people together and represented deep truths. The second example is more, “sedate” (Foster 9) than the first, but both portray sharing emotions through the sharing of a communion that is not the traditionally thought of as communion. Thomas C. Foster reveals that communion in literature is almost always important and that to analyze the eating scenes carefully because they can all have very differing meanings.
Thomas C. Foster in, “How to Read Literature like a Professor,” describes the importance of eating or sharing a meal in a work of literature. Foster explains that “sometimes a meal is just a meal, and eating with others is simply eating with others,” but “more often than not, though, it’s not” (Foster 7). Sometimes in literature an anecdote involving the sharing of a meal represents nothing more than a shared meal that is part of the story but serves no real importance to the meaning. In a plethora of these stories, though, the eating is the main factor because the anecdote is apocryphal and the meal actually represents a deeper truth or meaning that is something else entirely. Foster continues by explaining that “whenever people eat or drink together, it’s communion,” and not necessarily the communion associated with Christianity, but the kind “in the real world [where] breaking bread together is an act of sharing and peace” (Foster 8). The act of breaking and sharing bread is associated almost always with the practice of the Lord’s Supper at church where bread and wine are shared and consumed to worship God, which is called communion. Communion in literature still deals with the sharing of food, but focuses more on the exchange of intimate feelings. Also Foster intones his point about communion being in literature to convey the importance in understanding communions in literature. The author explains differing communions by giving examples like “Henry Fielding’s Tom Jones (1749),” where the meal is, “ a kind of communion [that is] very private, admittedly, and decidedly not holy,” and “Raymond Carter[‘s],” story, “Cathedral,” where food allows the character, “to [go] from the nasty, prejudiced, narrow-minded person of the opening page to the point where he can actually have a blind man’s hand on his own at the ending” (Foster 9, 10). Both examples provide instances where a meal, communion, brought people together and represented deep truths. The second example is more, “sedate,” than the first, but both portray sharing emotions through the sharing of a communion that is not the traditionally thought of as communion (Foster 9). Thomas C. Foster reveals that communion in literature is almost always important and that to analyze the eating scenes carefully because they can all have very differing meanings.
In “How To Read Literature Like a Professor,” Thomas C. Foster explains that, in literature, there is often a deeper meaning to characters sharing a meal than what’s presented at face value. Foster states that “whenever people eat or drink together, it’s communion,” (Foster 8). Many people assume that communion has to do specifically with a certain religious faith, breaking bread to represent a deity’s broken body; however, Foster intones a different take on it. Communion, in the irreligious sense, just refers to a simple association with one another; a sharing of emotions among people, and in this case, it’s over a fine meal. The trials of creating a meal scene in literature are quite numerous, as Foster explains how “writing meal scene in literature is so difficult, and so inherently uninteresting, that there really needs to be some compelling reason to include one in the story,” (Foster 8) Obviously eating isn’t typically grand or spectacular, so authors must make sure they make it as interesting and essential to the plot as possible. This is especially true for specific anecdotes, as authors take significant care to paint a vivid picture of the scene through their imagery. Foster asks “So what kind of communion? And what kind of result can it achieve?” (Foster 9). In examples apocryphal or factual, communion among individuals can be positive or negative. Disdainful communion could come in the form a meal gone awry, or participants in strife with one another; on the other hand, in a more sedate manner, uplifting communion could be seen through old friends meeting up for a much needed lunch. These communions can often show the connection between characters, good or bad. Food is something everyone can relate to, and while ordinary meals in people’s lives aren’t typically too significant, they tend to express many different meanings when introduced into literature.
Thomas C. Foster in "How to Read Literature Like a Professor" puts into words the importance of eating in literature. He uses the "anecdote about Sigmund Freud" (Foster 7). Foster describes how Freud's words about a cigar just being a cigar are not always the case. He explains how "made-up anecdotes have their own kind of truth" (Foster 7). He states that these anecdotes are apocryphal. He believes that "just as cigars may be just cigars, so sometimes they are not" (Foster 7). He links the apocryphal idea to meals in literature. Although a meal in a story may just be a meal, most of the time it is not. He intones the fact that "whenever people eat or drink together, it's a communion" (Foster 8). The breaking of bread does not always hold a Christian ideal. Communion can have a more sedate feel to it as Foster mentions "Cathedral" by Raymond Carver. One character is initially against the other because of his differences, but they form a bond after eating together. That is because when food is shared, the people eating share something.
The chapter opens up with an anecdote about Sigmund Freud when one mans responds to another saying "sometimes a cigar is just a cigar" Foster prefers that this be apocryphal or of doubtful since made-up anecdotes have their own kind of truth. When reading acts of communion one may sometimes play under consideration to intone their voice. A communion is when people eat and drink together and it is not usually religious, but is an act of breaking break or showing peace and community. A failed meal carries very negative connotations. Foster gives sedate examples of those who enjoy a meal together and those who decide to drink or pass a joint to show another side of communion.
ReplyDeleteThe paragraph should still follow the required structure noted in your Summer Reading requirements. You should always state the author and title and follow the required concrete detail-commentary details as well. Be sure to conclude paragraph as well. Revise and repost.
DeleteThomas C. Foster in, “How to Read Literature like a Professor,” describes the importance of eating or sharing a meal in a work of literature. Foster explains that “sometimes a meal is just a meal, and eating with others is simply eating with others” (Foster 7), but “more often than not, though, it’s not” (Foster 7). Sometimes in literature an anecdote involving the sharing of a meal represents nothing more than a shared meal that is part of the story but serves no real importance to the meaning. In a plethora of these stories, though, the eating is the main factor because the anecdote is apocryphal and the meal actually represents a deeper truth or meaning that is something else entirely. Foster continues by explaining that “whenever people eat or drink together, it’s communion” (Foster 8) and not necessarily the communion associated with Christianity, but the kind “in the real world [where] breaking bread together is an act of sharing and peace” (Foster 8). The act of breaking and sharing bread is associated almost always with the practice of the Lord’s Supper at church where bread and wine are shared and consumed to worship God, which is called communion. Communion in literature still deals with the sharing of food, but focuses more on the exchange of intimate feelings. Also Foster intones his point about communion being in literature to convey the importance in understanding communions in literature. The author explains differing communions by giving examples like “Henry Fielding’s Tom Jones (1749)” (Foster 9) where the meal is, “ a kind of communion [that is] very private, admittedly, and decidedly not holy” (Foster 9) and “Raymond Carter[‘s]” (Foster 9) story, “Cathedral” (Foster 9) where food allows the character, “to [go] from the nasty, prejudiced, narrow-minded person of the opening page to the point where he can actually have a blind man’s hand on his own at the ending” (Foster 10). Both examples provide instances where a meal, communion, brought people together and represented deep truths. The second example is more, “sedate” (Foster 9) than the first, but both portray sharing emotions through the sharing of a communion that is not the traditionally thought of as communion. Thomas C. Foster reveals that communion in literature is almost always important and that to analyze the eating scenes carefully because they can all have very differing meanings.
ReplyDeleteGood!
DeleteThomas C. Foster in, “How to Read Literature like a Professor,” describes the importance of eating or sharing a meal in a work of literature. Foster explains that “sometimes a meal is just a meal, and eating with others is simply eating with others,” but “more often than not, though, it’s not” (Foster 7). Sometimes in literature an anecdote involving the sharing of a meal represents nothing more than a shared meal that is part of the story but serves no real importance to the meaning. In a plethora of these stories, though, the eating is the main factor because the anecdote is apocryphal and the meal actually represents a deeper truth or meaning that is something else entirely. Foster continues by explaining that “whenever people eat or drink together, it’s communion,” and not necessarily the communion associated with Christianity, but the kind “in the real world [where] breaking bread together is an act of sharing and peace” (Foster 8). The act of breaking and sharing bread is associated almost always with the practice of the Lord’s Supper at church where bread and wine are shared and consumed to worship God, which is called communion. Communion in literature still deals with the sharing of food, but focuses more on the exchange of intimate feelings. Also Foster intones his point about communion being in literature to convey the importance in understanding communions in literature. The author explains differing communions by giving examples like “Henry Fielding’s Tom Jones (1749),” where the meal is, “ a kind of communion [that is] very private, admittedly, and decidedly not holy,” and “Raymond Carter[‘s],” story, “Cathedral,” where food allows the character, “to [go] from the nasty, prejudiced, narrow-minded person of the opening page to the point where he can actually have a blind man’s hand on his own at the ending” (Foster 9, 10). Both examples provide instances where a meal, communion, brought people together and represented deep truths. The second example is more, “sedate,” than the first, but both portray sharing emotions through the sharing of a communion that is not the traditionally thought of as communion (Foster 9). Thomas C. Foster reveals that communion in literature is almost always important and that to analyze the eating scenes carefully because they can all have very differing meanings.
DeleteIn “How To Read Literature Like a Professor,” Thomas C. Foster explains that, in literature, there is often a deeper meaning to characters sharing a meal than what’s presented at face value. Foster states that “whenever people eat or drink together, it’s communion,” (Foster 8). Many people assume that communion has to do specifically with a certain religious faith, breaking bread to represent a deity’s broken body; however, Foster intones a different take on it. Communion, in the irreligious sense, just refers to a simple association with one another; a sharing of emotions among people, and in this case, it’s over a fine meal. The trials of creating a meal scene in literature are quite numerous, as Foster explains how “writing meal scene in literature is so difficult, and so inherently uninteresting, that there really needs to be some compelling reason to include one in the story,” (Foster 8) Obviously eating isn’t typically grand or spectacular, so authors must make sure they make it as interesting and essential to the plot as possible. This is especially true for specific anecdotes, as authors take significant care to paint a vivid picture of the scene through their imagery. Foster asks “So what kind of communion? And what kind of result can it achieve?” (Foster 9). In examples apocryphal or factual, communion among individuals can be positive or negative. Disdainful communion could come in the form a meal gone awry, or participants in strife with one another; on the other hand, in a more sedate manner, uplifting communion could be seen through old friends meeting up for a much needed lunch. These communions can often show the connection between characters, good or bad. Food is something everyone can relate to, and while ordinary meals in people’s lives aren’t typically too significant, they tend to express many different meanings when introduced into literature.
ReplyDeleteExcellent!
DeleteThomas C. Foster in "How to Read Literature Like a Professor" puts into words the importance of eating in literature. He uses the "anecdote about Sigmund Freud" (Foster 7). Foster describes how Freud's words about a cigar just being a cigar are not always the case. He explains how "made-up anecdotes have their own kind of truth" (Foster 7). He states that these anecdotes are apocryphal. He believes that "just as cigars may be just cigars, so sometimes they are not" (Foster 7). He links the apocryphal idea to meals in literature. Although a meal in a story may just be a meal, most of the time it is not. He intones the fact that "whenever people eat or drink together, it's a communion" (Foster 8). The breaking of bread does not always hold a Christian ideal. Communion can have a more sedate feel to it as Foster mentions "Cathedral" by Raymond Carver. One character is initially against the other because of his differences, but they form a bond after eating together. That is because when food is shared, the people eating share something.
ReplyDeleteGreat, thanks
Delete