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MAZISI KUNENE (South Africa, 1930 - 2006)

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MAZISI KUNENE (South Africa, 1930 - 2006) HONORS The Literature of South Africa Ms. Ward, 10th Grade English, May 2013 Learning to Read Critically Facts v. Interpretation Critical reading is not simply close and careful reading. To To non -critical readers, texts provide facts. Readers gain read critically, one must actively recognize and analyze knowledge by memorizing the statements within a text. evidence upon the page. To the critical reader, any single text provides but one Implications For Reading portrayal of the facts, one individual’s “take” on the To non-critical readers, texts provide facts. Knowledge subject matter. Critical readers thus recognize not only comes from memorizing the statements within a text. To what a text says, but also how that text portrays the the critical reader, any single text provides but one subject matter. They recognize the various ways in which portrayal of the facts, one individual's “take” on the each and every text is the unique creation of a unique subject. The content of a text reflects what an author takes author. as “the facts of the matter.” By examining these choices, readers recognize not only what a text says, but also how A non-critical reader might read a history book to learn the the text portrays the subject matter. facts of the situation or to discover an accepted interpretation of those events. A critical reader might read The first step in an analysis of a text, then, must be to look the same work to appreciate how a particular perspective at the content, at the evidence for an argument, the on the events and a particular selection of facts can lead to illustrations used to explain ideas, and the details particular understanding. presented within a description. Not that any particular author/text is necessarily wrong. We simply recognize the What a Text Says, Does, and Means: degree to which each and every text is the unique creation Reaching for an Interpretation of a unique author. That uniqueness is defined by choices of content, language and structure. Non-critical reading is satisfied with recognizing what a text says and restating the key remarks. Critical reading thus relies on an analysis of choices of content, language, and structure. Critical reading goes two steps further. Having recognized what a text says , it reflects on what the text does by What to Look For? making such remarks. Is it offering examples? Arguing? Critical readers are consciously aware of the choice of Appealing for sympathy? Making a contrast to clarify a content. They look at the content, at the evidence for an point? Finally, critical readers then infer what the text, as a argument, the illustrations used to explain ideas, and the whole, means, based on the earlier analysis. details presented within a description. That uniqueness is defined by choices of content, language and structure. These three steps or modes of analysis are reflected in They distinguish between assertions of fact, opinion, and three types of reading and discussion: belief. They are aware whether evidence consists of What a text says – restatement references to published data, anecdotes, or speculation, What a text does – description and they evaluate the persuasiveness of a text accordingly. What a text means – interpretation . Critical readers are aware of how language is being used. You can distinguish each mode of analysis by the subject They notice whether a text refers to someone as a "bean matter of the discussion: counter" (no respect) or "an academic statistician" What a text says – restatement – talks about the same (suggesting professionalism), whether some is said to have topic as the original text "asserted a claim" (with confidence, and no need for proof) What a text does – description – discusses aspects of or "floated a claim" (without backing, as a trial balloon). the discussion itself And they draw inferences from the choice of language they What a text means – interpretation — analyzes the text observe. and asserts a meaning for the text as a whole Critical readers are aware of the structure of a discussion, Goals of Critical Reading both in terms of the movement of ideas from beginning to end and in terms of the relationship of ideas throughout the Textbooks on critical reading commonly ask students to discussion. They distinguish between assertions offered as accomplish certain goals: reason or conclusion, cause or effect, evidence or to recognize an author’s purpose illustration. They recognize patterns of contrast and to understand tone and persuasive elements distinguish whether contrasting ideas are shown to be to recognize bias dissimilar, competing, or contradictory. Notice that none of these goals actually refers to something All authors confront three areas of choice: on the page. Each requires inferences from evidence within the choice of content the text: the choice of language recognizing purpose involves inferring a basis for the choice of structure choices of content and language recognizing tone and persuasive elements involves Choices must be made in each of these areas, and each classifying the nature of language choices choice contributes to the thought of the text as a whole. recognizing bias involves classifying the nature of patterns of choice of content and language SOURCE: Dan Kurland's www.criticalreading.com These are a just a few of the many possible literary subjects and thematic ideas. The point to remember is that a subject is not a theme: a subject is some dimension of the human condition examined by the work; a theme is a statement, direct or implied, about the subject. The thematic ideas about the subjects on the list are still fairly general. As a critical writer discussing a particular literary work, you'll need to bring your observations about theme closer to the work. Universal Themes in Literature Abandonment Communication Fear and Anxiety Innocence and Experience Abuse Community Fear and Courage Intergenerational Acceptance Cooperation Feelings Loyalty Acceptance of a Handicap Cooperation/Teamwork Forgiveness Making Choices Accepting change Coping with loss Freedom Media Adjusting to a new life Courage Friendship Memories Adoption Courage and Honor Gender Issues Morals & Values Anger Cultural Diversity Genealogy Patriotism Appearances Customs and Traditions Getting Along Peace Appreciation of nature Dealing with handicaps Good vs. Evil Peer Pressure Poverty Being gifted Death and Dying Gratitude Self-esteem Brotherhood Denial Grief Sense of community Bullies Determination Growing Up Sense of self Belonging Discrimination Guilt Separation and Loss Betrayal Faith Heroes Social Change Bondage Diversity Heroism Survival Bravery Doubt History Taking a stand Caring for the environment Dreams Honesty Teamwork Censorship Effects of War Hope Trust Challenges Emotions Humor Values Change Ethical Dilemmas Immigrants Violence Coming of Age Euthanasia Initiation Commitment Family & Relationships Injustice 1. The Individual in Nature Nature is at war with each of us and proves our vulnerability. People are out of place in nature and need technology to survive. People are destroying nature and themselves with uncontrolled technology. 2. The Individual in Society Society and a person's inner nature are always at war. Societal influences determine a person's final destiny. Social influences can only complete inclinations formed by nature. A person's identity is determined by place in society. In spite of the pressure to be among people, an individual is essentially alone and frightened. 3. Growth and Initiation Manhood or womanhood is often established by an abrupt, random crisis, sometimes at an unusually early age. Aspects of childhood are retained in all of us, sometimes hindering growth, sometimes providing the only joy in later life. A person grows only in so far as he or she must face a crisis of confidence or identity. 4. Death Death is part of living, giving life its final meaning. What other themes have we discovered Without love, death often appears to be the only through our reading this semester? alternative to life. What have we learned about the By the time people understand life, there is too little left nature of evil? to live. What have we learned about power? What have we learned about human 5. Change behavior in times of conflict? Change generates additional change. What have we learned about the way Change is inevitable. the individual acts alone versus in a Change is necessary for growth. group? Change can be evolutionary or revolutionary. Literary Devices Allusion: An allusion is an implied or indirect, brief reference to a famous historical or literary figure or event. This is usually used as an analogy to help explain something that may be difficult to comprehend. Examples: 1. If you take his parking place, you can expect World War II all over again. 2. “Will history repeat itself? Will David once again defeat Goliath?” (91). Euphemism: The substitution of a mild or less negative word or phrase for a harsh or blunt one. The goal is to put something bad or embarrassing in a positive or neutral light. Many terms referring to death, sex, crime, and excremental functions are euphemisms. Examples: 1. “pass away” instead of “die” 2. “hatless snake” instead of “circumcised genitalia” 3. “relieve oneself” etc. instead of “sh*t” Motif: A recurring/dominant element, theme, image, idea, or pattern in a work of art. Litotes: A kind of understatement, where the speaker or writer uses a negative of a word ironically, to mean the opposite. Examples: 1. She's not the friendliest person I know. (= she's an unfriendly person), 2. not a bad singer (= pretty good singer) 3. “she asked, not unkindly” (33). (=nicely –Mevrou -almost concerned?) Bildungsroman: A German term for a genre of literature that concentrates on the metaphysical, moral, psychological, or social development and growth of the protagonist usually from childhood to maturity. Sometimes it is referred to as a "Coming of Age Story." Juxtaposition: The arrangement of two or more ideas, characters, actions, settings, phrases, or words side-by-side or in similar narrative moments for the purpose of comparison, contrast, effect, suspense, or character development.
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