Question 3, Alyssa Mize

Question 3: Foster discusses the “dialogue between…texts.”  He refers to

this as “intertextuality.”  What is the significance, value, and effect of this textual connection?

How does it inform and enhance our reading experiences?  Is intertextuality intentional or

serendipitous?  How does it operate?  How might it relate to the “one big story?”  How might it

relate to archetypes, symbols?  When have you noticed intertextuality at work in the “real”

world?  What is the “mythic level?”

Intertextuality is the correspondence of one text to another to result in a collision of themes, ideas,

and expressions to create a new story. Throughout chapter 4, Foster insinuates the idea that “there’s

no such thing as a wholly original work of literature” (24). Foster intensifies the importance of

realizing that every story has a distinctive connection to another artifact that it models after. The

importance of intertextuality is that is enables the reader to recognize different meanings of the text.

As a method of reading between the lines per say, intertextuality motivates the means of symbolic

representation within a story. Through recognizing common themes, ideas, and expressions within a

story, it enables the reader to “connect the dots” and understand fundamental ideas that are widely

recognized, which is primitive in enhancing the reading experience (Foster 27). The creative process

of writing promotes writers to reflect on past experiences, writings, cultural artifacts, and other

symbolic representations, and then take that knowledge and build upon it. According to Foster,

“...you can’t create stories in a vacuum” (25). That everything written is derived from a memory or

reflection that has been embedded deep within the mind. Intertextuality, as inferred, is solely

serendipitous, as nothing is original through the collision of previous knowledge interfering with the

motif of the text.  Thus as nothing is original, Foster states, “...there’s only one story” (27). Using an

extended simile, Foster compares the originality of a story to a barrel of eels, as the eel deters from

the original path, it still relates to where it first came from. Foster often notes how the Bible has

impacted literature. In a contemporary standpoint, and from one of my favorite books, The Lion, The

Witch, and the Wardrobe alludes to religious context, as the novel metaphorically represented

crucial testimonies from the New Testament. Intertextuality is a commonality in all novels as one

story builds from another, resulting in the evolution of themes, ideas, and expressions that have

revolutionized the writing process. It's difficult to determermine the myth level when each story is 
derived from another source, which may not have a fundamental truth in it, perhaps it just relies on
 theory or cultural accepted truths. However, in terms with how apparent this literaturistic appeal is 
within writings, intertextuality is not mythical, but a common practice that is implemented 
within all of literature.

Question 2, Abigail Randan

This is my response to Question 2 (King Solomon wrote, “There is nothing new under the sun .” Foster applies this precept saying that all “writing and telling belong to one big story.” What does he mean by this? How does this idea add to understanding and the richness of the reading experience? How have you seen this principle in action in your own experience with art in general?).

Foster uses an eel analogy on pages 27 and 28 to explain his previous statement that all writing tells one big story. He explains the world of literature as a barrel of eels and each new writing is a teeming life added to the barrel. This means that each new writing adds to and derives from the same one story. Foster explains that, “Stories grow out of other stories, poems out of other poems” (Foster 28). He further states that poems can grow from stories or plays, etc. Noticing the comparisons and parallels requires practicing. Practicing not only requires reading, but also thinking in depth about the text.  Connections are revealed through reading and practicing thinking like a literature professor. Foster explains that these connections can be subtle, direct, ironic, comical, or tragic. By finding and understaning connections and parallels, readers can further understand the purpose of the text and be more enriched by the text. Foster also notes the “Aha! factor” of noticing the similarities and comparisons through texts. This “Aha! Factor” is what adds to the richness of the text and the ability to fully understand the text. An example of this that comes to my mind is the musical Into the Woods. Into the Woods is a Broadway production that is a crossover between different classic fairy tales. Cinderella, Little Red Riding Hood, Jack from Jack and the Beanstalk, Rapunzel, and various princes both help and hinder the quest of the main characters. The writer of the musical uses the foundation of classical fairy tales and adapts them into a new story. There is also a movie adapted from the musical which uses the musical as the foundation making its own adaptations for the big screen. Without the background knowledge from the other fairy tales, it very difficult to understand the purpose and message the musical is trying to send.

How To Read Literature...Blog Assignment

  BLOG Assignment:  Create 2 Posts (250 word minimum) based on posted Prompts and 4 Comments (100 word minimum) on peers’ posts.  Blogs must be completed by WEDNESDAY, JULY 31ST.

AP LITERATURE PRE-REQUISITE READING 2019-2020

HOW TO READ LITERATURE LIKE A PROFESSOR—BLOG

1.    Foster says that “reading literature is a highly intellectual activity.”  He discusses the “language of reading” and the “grammar of literature.”  What does he mean by these things and why are they important for the kind of reading he is discussing in this book?  How is this kind of reading different from purely “affective” reading?  What is the true value of “reading like a professor” according to Foster?  Be sure to use textual evidence to support your answer.

2.    King Solomon wrote, "There is nothing new under the sun." Foster applies this precept saying that all "writing and telling belong to one big story." What does he mean by this?  How does this idea add to understanding and the richness of the reading experience?  How have you seen this principle in action in your own experience with art in general?

3.    Foster discusses the “dialogue between…texts.”  He refers to this as “intertextuality.”  What is the significance, value, and effect of this textual connection?  How does it inform and enhance our reading experiences?  Is intertextuality intentional or serendipitous?  How does it operate?  How might it relate to the “one big story?”  How might it relate to archetypes, symbols?  When have you noticed intertextuality at work in the “real” world?  What is the “mythic level?”

4.    Foster talks about the relationship between the reader and the writer suggesting that, “reading is an event of the imagination…a reader’s imagination is the act of one creative intelligence engaging another (the writer’s).  How does this occur?  What does this suggest about the nature and process of reading and writing?

5.    After studying Foster, what ideas about the process, the experience, and the purposes of reading seem significant?  What are the philosophical underpinnings of his book about books?  What does it mean to be literate?  What does it mean to read?  How does this relate to “being human?”  What will you carry with you from this book?

6.    Foster talks about the “symbolic level.”  How does this inform the kind of reading professors (and AP Lit. students) do?  How does one work to read in this manner?  What does it require of us as readers?

7.    Where or how does ambiguity come into play in a reader's experience? How might ambiguity work within a piece of literature (or art of any kind?)  How does it impact our understanding, and appreciation of a text?

Welcome and Basic Expectations

Hello and Welcome AP Literature Scholars! I am looking forward to a wonderful year of intellectual thinking, reading, writing, and discussion. I am so happy you have embarked on this journey!

AP LITERATURE 2019-2020 PREREQUISITE READING

RATIONALE:

AP Literature Prerequisite Reading is not an addendum to our curriculum, a hoop to jump through, or a ticket into the class. The text selections are part of the year’s curriculum and work. There is simply not time during the year to accomplish all reading tasks we have planned.  Summer Reading allows us to begin our textual work immediately and to increase the amount of total reading we can do together throughout the year.  It also allows you to get a head start on work when you might have more leisure time.

BASIC EXPECATIONS:

·        All reading is to be done in good faith.  We trust you to truly engage with the texts to the best of your ability.  You trust us to have assigned worthy and necessary texts.

·        All HARD COPY WRITTEN work (DE Notes) is due on the first day of school at the beginning of your AP class.  All BLOG work (Posts/Comments) is due on or before July 31st.

·        All work must be TYPED; each reading/writing assignment should be clearly labeled (no binders or folders).