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The Prentice Hall Pocket Guide to Understanding Literature

by Derek Soles

  • ISBN: 9780130269942
  • ISBN10: 0130269948

The Prentice Hall Pocket Guide to Understanding Literature

by Derek Soles

  • List Price: $66.65
  • Binding: Paperback
  • Edition: 1
  • Publisher: Pearson
  • Publish date: 06/01/2001
  • ISBN: 9780130269942
  • ISBN10: 0130269948
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Description: 1. Fiction. Short Story: Guests of the Nation, Frank O''Connor. No One''s a Mystery, Elizabeth Tallent. What I Have Been Doing Lately, Jamaica Kincaid. The A & P, John Updike. Neighbors, Raymond Carver. The Novel: Pride and Prejudice, Jane Austen. The Novella: The Awakening, Kate Chopin. 2. Poetry. Regular Verse: A Slumber Did My Spirit Seal, William Wordsworth. The Tyger, William Blake. The Destruction of Sennacherib, George Gordon, Lord Byron. Eve, Ralph Hodgson. God''s Grandeur, Gerard Manly Hopkins. Anthem for Doomed Youth, Wilfred Owen. Blank Verse: Ulysses, Alfred, Lord Tennyson. Free Verse: Dover Beach, Mathew Arnold. Disillusionment of Ten o''Clock, Wallace Stevens. Sonnet: Shakespearean, When in Disgrace with Fortune. Not Marble Nor the Gilded Monuments, William Shakespeare. On His Blindness, John Milton. Leda and the Swan, William Butler Yeats. Ballad: The Rime of the Ancient Mariner, Samuel Taylor Coleridge. The Ballad of Birmingham, Dudley Randall. Villanelle: Do Not Go Gentle, Dylan Thomas. Ode: Ode to a Nightingale, John Keats. Intimations of Immortality, William Wordsworth. Epic: Paradise Lost, John Milton. Elegy: In Memory of W.B. Yeats, W.H. Auden. Dramatic Monologue: Tithonus, Alfred, Lord Tennyson. 3. Drama. Tragedy: Hamlet, William Shakespeare. Comedy: The Importance of Being Earnest, Oscar Wilde. Theatre of the Absurd: Waiting for Godot, Samuel Beckett. 4. Plot. The Sequential Plot: The Garden Party, Katherine Mansfield. Living in Sin, Adrienne Rich. The Found Boat, Alice Munro. The Non-Sequential Plot: A Rose for Emily, William Faulkner. The Curse, Andre Dubus. Bitch, Carolyn Kizer. All Gone, Stephen Dixon. The Archetypal Plot: Heart of Darkness, Joseph Conrad. Directive, Robert Frost. The Plot Twist: The Catbird Seat, James Thurber. The Fish, Elizabeth Bishop. Plot and Irony: The Ruined Maid, Thomas Hardy. An Old-Fashioned Story, Laurie Colwin. Woodchucks, Maxime Kumin. Othello, William Shakespeare. 5. Character. Dynamic Characters: The Odour of Chrysanthemums, D.H. Lawrence. Bartleby, the Scrivener, Herman Melville. I''m a Fool, Sherwood Anderson. Static Characters: The Love Song of J. Alfred Prufrock, T.S. Eliot. Her First Ball, Katherine Mansfield. Stereotypical Characters: My Last Duchess, Robert Browning. The Great Gatsby, F. Scott Fitzgerald. Krapp''s Last Tape, Samuel Beckett. The Jilting of Granny Weatherall, Katherine Ann Porter. Character and Irony: Richard Cory, E.A. Robinson. A Worn Path, Eudora Welty. Two Loves I Have of Comfort and Despair, William Shakespeare. Character and Satire: Pygmalion, George Bernard Shaw. Everyday Use, Alice Walker. Harrison Bergeron, Kurt Vonnegut. 6. Point of View. The Omniscient Narrator: The Storm, Kate Chopin. The Rocking Horse Winner, D.H. Lawrence. The Bride Comes to Yellow Sky, Stephen Crane. The Limited-Omniscient Narrator: Eveline, James Joyce. Babylon Revisited, F. Scott Fitzgerald. First-Person, Major-Character as Narrator: Rape Fantasies, Margaret Atwood. Boys and Girls, Alice Munro. Those Winter Sundays, Robert Hayden. First-Person, Minor-Character as Narrator: Our Friend Judith, Doris Lessing. Objective Narrator: Hills Like White Elephants, Ernest Hemingway. Multiple Points of View: Bleak House, Charles Dickens. 7. Setting. Setting and Plot: The Painted Door, Sinclair Ross. Beyond the Pale, William Trevor. Porphyria''s Lover, Robert Browning. Setting and Symbolism: The Snows of Kilimanjaro, Ernest Hemingway. Stopping by Woods on a Snowy Evening, Robert Frost. London, William Blake. Setting and Irony: The Lottery, Shirley Jackson. Naming of Parts, Henry Reed. The Waste Land, T.S. Eliot. Setting and Metaphor: Full Many a Glorious Morning, William Shakespeare. The Darkling Thrush, Thomas Hardy. At the San Francisco Airport, Yvor Winters. A Midsummer Night''s Dream, William Shakespeare. 8. Theme. Family: The Parable of the Prodigal Son, St. Luke. My Papa''s Waltz, Theodore Roethke. The Daughters of the Late Colonel, Katherine Mansfield. The Writer, Richard Wilbur. Girl, Jamaica Kincaid. Two Kinds, Amy Tan. The Planned Child, Sharon Olds. Love: How Do I Love Thee, Elizabeth Barrett Browning. Dance Me to the End of Love, Leonard Cohen. somewhere I have never travelled, e.e. cummings. The Folly of Being Comforted, William Butler Years. The Horse Dealer''s Daughter, D.H. Lawrence. War: Futility, Wilfred Owen. What Were They Like?, Denise Levertov. The Things They Carried, Tim O''Brien. The Death of the Ball Turret Gunner, Randall Jarrell. Catch 22, Joseph Heller. Home Soil, Irene Zabytko. The Fury of Aerial Bombardment, Richard Eberhart. Nature: To Autumn, John Keats. The Lonely Land, A.J.M. Smith. Morning Swim, Maxine Kumin. I Taste a Liquor, Emily Dickinson. Death: Sailing to Byzantium, William Butler Yeats. Byzantium, William Butler Yeats. Death Be Not Proud, John Donne. Poor Soul the Center of My Sinful Earth, William Shakespeare. A Refusal to Mourn, Dylan Thomas. Because I Could Not Stop for Death, Emily Dickinson. Faith: Batter My Heart, Three-Personed God, John Donne. Church Going, Philip Larkin. The Collar, George Herbert. Sunday Morning, Wallace Stevens. Time: To the Virgins to Make Much of Time, Robert Herrick. Loveliest of Trees, A.E. Houseman. What Lips My Lips Have Kissed, Edna St. Vincent Millay. A Time Past, Denise Levertov. 9. Metaphor. Metaphor and Character: That Time of Year Thou Mayest in Me Behold, William Shakespeare. Not Waving, but Drowning, Stevie Smith. Clay, James Joyce. The Flea, John Donne. Metaphor and Theme: A Valediction: Forbidding Mourning, John Donne. Separation, W.S. Merwin. On First Looking Into Chapman''s Homer, John Keats. The Masque of the Red Death, Edgar Allan Poe. My Mistress''s Eyes Are Nothing Like the Sun, William Shakespeare. Metaphor and Symbolism: A Poison Tree, William Blake. Desert Places, Robert Frost. There''s a Certain Slant of Light, Emily Dickinson. 10. Imagery. Imagery and Plot: An Occurrence at Owl Creek Bridge, Ambrose Bierce. Imperial Adam, A.D. Hope. Imagery and Character: Beija Flor, Diane Ackerman. She Walks in Beauty, Lord Byron. The Dead, James Joyce. Still to Be Neat, Ben Jonson. Imagery and Setting: Fern Hill, Dylan Thomas. Brideshead Revisited, Evelyn Waugh. Wellfleet Sabbath, Marge Piercy. Imagery and Theme: The Red Wheelbarrow, William Carlos Williams. In a Station of the Metro, Ezra Pound. 11. Symbolism. Objects as Symbols: My Life Had Stood a Loaded Gun, Emily Dickinson. Mirror, Sylvia Plath. Ode on a Grecian Urn, John Keats. Natural Symbols: Fire and Ice, Robert Frost. I Heard a Fly Buzz, Emily Dickinson. The Sick Rose, William Blake. The Force That Through the Green Fuse, Dylan Thomas. The Chrysanthemums, John Steinbeck. Religious Symbols: Araby, James Joyce. The Second Coming, William Butler Yeats. Character as Symbol: The Swimmer, John Cheever. Livvie, Eudora Welty. Young Goodman Brown, Nathaniel Hawthorne. 12. Tone. Sorrow: When You Are Old, William Butler Yeats. Bright Star, John Keats. Miss Brill, Katherine Mansfield. Resignation: Woman, Nikki Giovanni. When My Love Swears That She Is Made of Truth, William Shakespeare. Irony: One Perfect Rose, Dorothy Parker. How to Become a Writer, Lorrie Moore. Dulce et Decorum Est., Wilfred Owen. Triumph: The Donkey, G.K. Chesterton. Tenderness, Stephen Dunne. 13. The Author''s Life and Times. Personal Experience: To Althea, from Prison, Richard Lovelace. Among School Children, W.B. Yeats. Methought I Saw My Late Espousd Saint, John Milton. Values and Ideals: To Lucasta, On Going to the Wars, Richard Lovelace. Observed Experience: The Rape of the Lock, Alexander Pope. Historical Circumstance: On the Late Massacre at Piedmont, John Milton. 14. An Introduction to Methods of Literary Analysis. Formalism: La Belle Dame Sans Merci, John Keats. Structuralism: The Blue Hotel, Stephen Crane. Psychoanalytic Criticism: The Turn o
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