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Literary studies

Guidance notes for literary studies, with examples

guidance notes for literary studies, with examples

How to buy books for a penny

February 8, 2013 by Roy Johnson

conrad_nostromo_2find bargains at online bookshops

I’ve bought several books for a penny each in the last couple of weeks at Amazon. Yes – that’s one penny. And they were not tatty old paperbacks, but hardback reference works of 400 pages plus, in tip top condition, plus a couple of classic novels.

There are several factors that create this state of affairs:

  • new books drive down the value of old books
  • book sales are dropping in global terms
  • more people are buying eBooks
  • eCommerce is changing business practices

What type of books for a penny?

There are lots of junk books for a penny available – as you would expect. But there are just as many that have real intrinsic value in the hands of the right person:

  • dictionaries
  • reference books
  • classic novels
  • out of date text books
  • software and IT manuals

A copy of the classic reference book Whitaker’s Almanack for instance contains lots of valuable information, even if it’s a few years out of date.

You can bet that the capital city, the geography, and the principal imports and exports of Tasmania have not changed much in the last two or three years.

Jane Austen’s Pride and Prejudice hasn’t changed at all since it was first published nearly two hundred years ago. So you can safely buy a copy that happens to be fifty years old – especially if it’s a nice hardback edition, printed on good paper.

Say you were a student of mathematics. A textbook explaining algebra, geometry, or calculus can’t really be ‘out of date’ – because the rules and equations in maths are fixed as part of their very nature.

In the world of computer technology, developments are so rapid that both software and hardware are updated every few weeks. A guidance manual to a digital camera, an operating system, or a laptop computer has almost zero value after about twelve months. But it might be useful to you if it matches the age of your equipment.


Why do books for a penny exist?

Theese bargain books are available for two good reasons:

Reason one
The bookseller wants to get rid of books that aren’t selling and are taking up valuable storage space.

This makes room for books that are more popular and will make more money in terms of sales.

Reason two

The bookseller is getting valuable information in return for the sale – your name, postal address, email address, and your reading preferences.

The bookseller can make use of this information in any future marketing campaigns.


Hardback Vs paperback

Check the book descriptions carefully. You might find a hardback edition available for the same price as a paperback. Old paperbacks tend to disintegrate, and a hardback edition will be more durable, even if it is much older

A hardback might also have additional features – such as illustrations, photographs, and maps.


How to interpret descriptions

Here is a typical description from a bookseller’s advert – and on some sites you might get a photograph of the book as well.

Ex-Library Book. Has usual library markings and stamps inside. Has been read but remains in clean condition. All pages are intact and the cover is intact. The spine may show signs of wear. All orders are dispatched within 1 working day from our UK warehouse. Established in 2004, we are dedicated to recycling unwanted books on behalf of a number of UK charities who benefit from added revenue through the sale of their books plus huge savings in waste disposal. No quibble refund if not completely satisfied.

  • Ex-Library book – That’s OK: libraries often laminate their books, to make them more durable. The book might have tickets and coloured stamp markings inside.
  • Pages and cover inteact – Good. That means it’s in reasonable external condition.
  • Spine wear – That is perfectly normal on an old book.
  • Despatched within one day – Good! Order it in the morning: you might receive it next day.
  • Charity donation – You are helping a charity, and saving a book which would otherwise be pulped.
  • Money-back guarrantee – You can trust them to honour their promise – for reasons discussed below.

If you want to go into further detail, have a look at our guidance notes on bookseller jargon.


Can you trust the seller?

Almost all bookseller want to gain reputations for good service and prompt delivery. Amazon and AbeBooks have ratings systems in place. Customers can award good (or bad) marks to the online bookseller.

Believe me – these booksellers are very, very keen to keep their ratings as high as possible. They know that if they send you shoddy goods that are badly wrapped, they will lose credibility,


Postage

Of course, you’ve got to pay the postage for these books to be delivered to your front door. But with an average charge of £2.50 (or $4.00 – €3.00) ask yourself if it would cost you that much to travel to your nearest big bookshop.

You might have to wait two or three days (in the UK) for the book to arrive – but in some cases if you order early in the morning, it’s possible that the book could arrive next day.

However, some online booksellers have free delivery options.


Examples of books for a penny

I ran a test and came up with the following examples. All were available for one penny.

These are the original book reviews on this site. Click through to Amazon, When you get there, be prepared to do a bit of clicking around.

books for a penny Roget’s Thesaurus [Reference – hardback]

books for a penny Portrait of a Marriage [Biography – hardback]

books for a penny Brewer’s Dictionary of Phrase and Fable [Reference – hardback]

books for a penny iPhone UK The Missing Manual [Guidance manual – paperback]

books for a penny Style: ten lessons in clarity and grace [Style guide – paperback]

© Roy Johnson 2013


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Filed Under: 19C Literature, 20C Literature, How-to guides, Literary studies Tagged With: Dictionaries, e-Commerce, Reference

How to cite electronic sources

September 15, 2009 by Roy Johnson

academic conventions for the digital age

Referencing

1. More and more data is now stored electronically in a variety of forms.

2. When quoting, your sources may be in some digital form.

3. The information might be stored in different types of location.

4. Many of these locations are known as Internet ‘sites’ or ‘addresses’.

5. The sources you are most likely to encounter are as follows:

  • FTP site
  • Web site
  • Newsgroup
  • CD-ROM
  • E-mail

Accuracy

1. Details of addresses should be recorded with complete accuracy.

2. All use of capital and lower case letters must be respected.

3. All punctuation must be recorded exactly as given.

4. No punctuation should be added.

5. For instance, don’t put a full stop at the end of an address:

https://mantex.co.uk – not – https://mantex.co.uk.

6. Typographic symbols (#,@,!,~) should be incorporated accurately.

7. You should also include a record of the date the site was visited.

8. Electronic documents may easily be updated at any time.


FTP (File Transfer Protocol) Sites

1. When giving reference to sources located via FTP, you should provide the following information. The electronic ‘address’ of the document is enclosed in angle brackets (which are optional).

  • the author’s name (if known)
  • the full title of the document in quotation marks
  • the date of publication (if available)
  • the abbreviation ftp
  • the address of the ftp site, with no closing punctuation
  • the full path to the paper, with no closing punctuation
  • the date of access in parentheses

Example:

Bruckman, Amy. “Approaches to Managing Deviant Behavior in Virtual
Communities.”

<ftp://ftp.media.mit.edu/pub/asb/papers/deviance-chi-94>
(4 Dec. 1994).


World Wide Web (WWW) Sites

1. To cite files available for viewing or downloading via the World Wide Web by means of Firefox, Internet Explorer, or other Web browsers, you should provide the following information:

  • the author’s name (if known)
  • the full title of the document in quotation marks
  • the title of the complete work if applicable in italics
  • the date of publication or last revision (if available)
  • the full http address (URL) enclosed within angle brackets
  • the date of visit in parentheses

[ HTTP = HyperText Transfer Protocol ]
[ URL = Uniform Resource Locator ]

Example:

Burka, Lauren P. “A Hypertext History of Multi-User Dimensions.”
MUD History. 1993.
<http://www.ccs.neu.edu/home/1pb/mud-history.html>
(5 Dec. 1994).


Newsgroup (USENET) messages

1. When citing information posted by participants in newgroup discussions, you should provide the following information:

  • the author’s name (if known)
  • the author’s e-mail address, enclosed in angle brackets
  • the subject line from the posting in quotation marks
  • the date of publication
  • the name of the newsgroup, enclosed in angle brackets
  • the date of access in parentheses

Example:

Slade, Robert. <res@maths.bath.ac.uk> “UNIX Made Easy.”
26 Mar. 1996. <alt.books.reviews> (31 Mar. 1996).


E-mail messages

1. When citing electronic mail correspondence, you should provide the following information:

  • the author’s name
  • the author’s e-mail address, enclosed in angle brackets
  • the subject line from the posting in quotation marks
  • the date of publication
  • the kind of communication
  • the date of access in parentheses

Example:

Franke, Norman. <franke1@llnl.gov> “SoundApp 2.0.2.” 29 Apr. 1996. Personal e-mail. (3 May 1996).


CD-ROM disk

1. When citing information located on a CD-ROM disk, the source is treated as if it were a normal (print) publication, and you should provide the following information:

  • the author’s name (if known)
  • the full title of the document in quotation marks
  • the full title of the CD-ROM
  • the publisher
  • the date of publication (if available)

Example:

Norman Higginbottam, “The Sounds of Muzak”, Beethoven Revisited,
Digital Resources, 1996.


Details gratefully quoted and adapted with permission from Andrew Harnack and Gene Kleppinger, online! a reference guide to using internet sources, St Martin’s Press, 1997.

© Roy Johnson 2004


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How to create a bibliography

November 16, 2009 by Roy Johnson

the basic conventions for academic writing

1. bibliographyAt the end of any scholarly writing (an essay, report, or dissertation) you should offer a list of any works you have consulted or from which you have quoted. This list is called a bibliography – literally, a list of books or sources.

2. The traditional way of showing this information is to use the following sequence:

Author – Title – Publisher – Date

Terry Eagleton, Literary Theory, Oxford: Blackwell, 1983.

3. In some cases, you might be expected to present this information with the author’s surname listed first – as follows:

Eagleton, Terry. Literary Theory, Oxford: Blackwell, 1983.

4. If you are using the Harvard system of notation, the date follows the author’s name – thus:

Eagleton, T. (1983), Literary Theory, Oxford: Blackwell

5. Notice that book titles are shown in italics.

6. If you are using a ‘standard’ text, give the editor’s name first, as in the following examples:

Mark Amory (ed), The Letters of Evelyn Waugh, Weidenfeld and Nicolson, 1980.

Frank Kermode (ed), The Tempest, Methuen, 1954.

7. List the items of a bibliography in alphabetical order according to author’s or the editor’s surname.

8. Don’t list works you have not consulted or from which you have not quoted. Doing this creates the impression that you are trying to claim credit for work you have not actually done.

9. You might find that your bibliography repeats much of the information given in your endnotes or footnotes. Don’t worry about this: these two separate lists have different functions. In addition, your bibliography may contain works from which you have not directly quoted.

10. Here’s an extract from the bibliography of a second year undergraduate essay on the sociology of domestic labour:

Bibliography

Beeton, I., Beeton’s Book of Household Management, Chancellor Press, 1991.

Best, G., Mid-Victorian Britain 1851-75, Fontana, 1979.

Branca, P., Silent Sisterhood, Croom Helm, 1975.

Burman, S. (ed), Fit Work for Women, Croom Helm, 1979.

Burnett, J., Useful Toil, Allen Lane, 1974.

Darwin, E., ‘Domestic Service’, The Nineteenth Century, Vol.28, August 1890.

Davidoff, L., The Best Circles, Croom Helm, 1973.

Davidoff, L., ‘Mastered for Life: Servant and Wife in Victorian and Edwardian England’, Journal of Economic and Social History, Vol.7, 1974.

The Harvard System

11. Some subjects adopt the Author-Date method of referencing – which is also known as the Harvard System. Full details of the texts you have quoted are placed in the bibliography in the following order:

Author – Date – Title – Place – Publisher

Smith, John. (1988) The Weavers’ Revolt, Chicago, Blackbarrow Press.

12. The list of texts which appears at the end of your essay should be arranged in alphabetical order of the author’s surname. The list differs from a traditional bibliography in that the date of publication follows the author’s name.

So – the same bibliography shown above would appear as follows in Harvard style:

Bibliography

Beeton, I. 1991 Beeton’s Book of Household Management, Chancellor Press.

Best, G. 1979 Mid-Victorian Britain 1851-75, Fontana.

Burman, S. 1979 (ed), Fit Work for Women, Croom Helm.

Darwin, E. 1890 ‘Domestic Service’, The Nineteenth Century, Vol.28, August.

Davidoff, L. 1973 The Best Circles, Croom Helm.

Davidoff, L. 1974 ‘Mastered for Life: Servant and Wife in Victorian and Edwardian England’, Journal of Social History, Vol.7.

Davidoff, L. 1987 and Hall, C., Family Fortunes, Hutchinson.

[…and so on]

bibliography Full details of Harvard style referencing.

© Roy Johnson 2009


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How to fail your dissertation

September 15, 2009 by Roy Johnson

clear guidelines for guaranteed disaster

Failing your dissertation is admittedly not an easy task, but if you try really hard you can fail by ignoring all the good advice you have been given. If in doubt, you should adopt the suggestions which follow. They can be summarised as three main principles:

  • obscure the idea
  • mangle the sentences
  • ‘slovenize’ the diction
Obscure the idea

Make sure your topic is wide and vague. Then wander around the main idea without ever stating it precisely. If by mistake you do manage to choose a well-defined, suitably limited topic, do not despair. You can always take detours and amble away from the topic for a while.

Do not develop your ideas. Simply re-state them in safe, spongy generalisations. Don’t bother finding evidence to support what you say. Always point out this kind of repetition with the phrase ‘As previously …’. Better still, repeat word for word at least two of your statements.

Disorganise your discussion. For example, if you are using chronological order to present your material, keep your reader alert by making repeated jumps from the past into the present and back again.

Begin a new paragraph every sentence or two.

By generous use of white space make the reader aware he is looking at a page devoid of sustained thought.

Like this.

Mangle the sentences

Fill all the areas of your sentences with dead wood. Incidentally, ‘the area of’ will deaden almost any sentence, particularly when displayed prominently at the beginning.

Use sentence fragments and run-on or comma-spliced sentences. Do not use a main subject and a main verb, because the reader will get the complete thought too easily. Just toss in part of the idea at a time, as in this ‘sentence’.

To create variety, throw in an occasional run-on sentence, thus the reader will have to read slowly and carefully to get the idea, if there is one.

Your sentence order invert for statement of the least important subject matter. That will force the reader to be attentive to understand even the simplest points you make.

You, in the introduction, body and conclusion of your dissertation, to show that you can contrive ornate, graceful sentences, should use convoluted sentence structure.

Frequent separation of subjects from verbs by insertion of involved phrases and clauses, frequently giving rise to errors of concord, show that you know what can be done to a sentence.

‘Slovenize’ the language

Add the popular ‘-wise’ and ‘-ize’ endings to words. Say ‘Timewise, this procedure is faster’, rather than simply, ‘This procedure is faster’. Choose ‘circularize’ and ‘utilize’ in preference to ‘circulate’ and ‘use’. Practice will smartenize your style.

Use vague words instead of precise ones. From the start, establish vagueness of tone by saying ‘The thing is …’. Keep the reader guessing throughout a reading of your work.

Employ lengthy Latinate locutions wherever possible. Shun the simplicity of style that comes from apt use of short, old, familiar words, especially those of Anglo-Saxon origin. Show that you can get the maximum (L) not merely the most (A-S) from every word choice you make.

Inject some humour into your writing by using the wrong word occasionally. Write ‘then’ when you mean ‘than’ or ‘to’ when you mean ‘too’. Every reader likes a laugh.

Find a ‘tried and true’ phrase to clinch a point. It will have a comfortingly folksy sound for your reader. Best of all, since you want to end in a conversational, friendly way, sprinkle your conclusion with clichés. ‘Put a little icing on the cake’ as the saying goes.

Last word

Well, too ensconce this whole business in a nutshell you, above all, an erudite discourse on nothing in the field of your topic should write. Thereby gaining the reader’s credence in what you say.

Suggestion-wise, one last thing: file-ize this list for handy reference for the next time you have to write anything.

(Adapted from Emerson Society Quarterly, 1963)

© Roy Johnson 2004


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How to get an academic teaching job

August 8, 2011 by Roy Johnson

advice, tips, and templates for humanities PhDs

An academic teaching job is a golden objective, but not an easy goal to achieve. If you’ve made it through your first degree, then a masters or a PhD, the chances are that you would really like a university teaching post. After all, this would mean a light work load; long holidays; free sabbatical terms; conference trips abroad; you’re paid to read and write; and the job carries a little bit of social prestige. It’s an attractive proposition. But everyone knows that the number of available posts is shrinking fast, and the competition to secure them is enormous.

Academic teaching Job It’s increasingly difficult to get your foot even onto the first rung of the ladder. University departments everywhere are packed with young (and not so young) graduate teaching assistants hoping that their few hours of part-time teaching are going to be magically transformed into a full time post.

Kathryn Hume is a professor of English at Penn State University, and she has obviously made a close study of the job application process. This guidance manual is packed with tips to help you succeed or at least survive the many applications you will have to make before you land that appointment.

The American system of application is preliminary (conference) interviews to draw up a shortlist of possible candidates. These are followed by in-depth on-Campus interviews and presentations. UK and European readers can be sure that armed with the suggestions and advice laid out here, they will be well prepared for anything that can be thrown at them.

The first part of the book is concerned with making sure your documentation is in order. You need to present yourself on paper as persuasively as possible – and she explains how maximise your chances of being selected for an interview. There are all sorts of interesting little tips – such as the fact that your curriculum vitae does not need ‘Your Name – Curriculum Vitae’ as a bold heading – because it is obvious that’s what it is, and it will only be looked at along with everybody else’s.

The same goes for the interview. She recommends lots of practice – answering questions out loud to yourself or with friends. You should learn how to describe your own thesis in about ninety seconds without using jargon – because you will be speaking to people from other disciplines. And you should even practise wearing your interview clothes beforehand, so that you don’t feel uncomfortable. But there’s a lot more, thoughtful, and in-depth detail and warnings.

Remove whimsical quotations from the signature in your email. Clean up your online presence. Remove all photos of yourself looking drunk or less than properly clad from Facebook, Flickr, and other such networking sites. Even pictures of you enjoying a beach vacation will suggest that you have not been devoting yourself to serious professional work … committees routinely check out such sites, and deans take seriously any party-animal pictures or blogs that rant (no matter what the subject matter or stance).

Even if you succeed at the interview, it’s not all over. Because there’s the very delicate yet crucial issue of the job offer. You are in a very vulnerable position – because you want the job. The crucial piece of advice here is – don’t accept any offer until it’s in writing. The grounds for this argument are that the head of the interview panel might make you a verbal offer, the conditions and salary of which are changed when the head gets back to ratify matters with the budget-holding dean of the faculty.

Whilst searching for a job, you will also need to be converting your dissertation (or preferably thesis) into a book. This too is immeasurably more difficult than it used to be – because of cutbacks in educational funding and the cost of producing academic publications, which are only likely to sell to a small audience. You need to know quite a lot about how specialist and academic presses work to even secure a chance of being considered, let alone published. And – brace yourself! – you may even need to secure funding to generate a ‘subsidy’ for the publisher.

She even covers the worst case of what do you do if you don’t manage to secure a job. The main options are visiting professorship; postdoc work; an appointment in further education or a community college; a non-teaching post in administration or publishing; and the somewhat dangerous option of teaching abroad. It’s dangerous because you may never get back.

The advice doesn’t stop there. She even continues on the assumption that you manage to secure an untenured appointment, where you will be on probation for quite some time. Here you need to become aware of what she calls ‘academic politics’. Her advice is essentially a very cautious ‘keep your head down and stay out of trouble’ approach – but I enjoyed her accounts of departmental in-fighting and the secret codes and booby-traps of staff meetings.

The book also has a huge set of appendices offering multiple practical examples of CVs, letters of application, thesis descriptions, pedagogic philosophies, teaching portfolios, and evidence of teaching effectiveness. All of these cover a wide range of humanities subjects, including English, Rhetoric, Communication Skills, History, Art History, Comparative Literature, and French.

Buy the book at Amazon UK

Buy the book at Amazon US

© Roy Johnson 2011


Kathryn Hume, Surviving your Academic Job Hunt: Advice for Humanities PhDs, Hampshire: Palgrave Macmillan, 2nd edition, 2010, pp.227, ISBN: 0230109462


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How to read a novel

June 21, 2011 by Roy Johnson

reading skills for appreciating fiction

Studying FictionIf you love reading novels you’ll know that they can offer an entire world in which to get imaginatively lost. People read Wuthering Heights and actually cry when the heroine Cathy dies half way through the story. They read The Wind in the Willows and are utterly charmed by the antics of characters pottering about on a river – all of whom are little animals. Or they read Mary Shelley’s Frankenstein and are terrified by the story of a scientist who manufactures life and finds the thing he creates going out of control. The important question is how to read a novel in order to get the most out of it?

It’s true that some people read novels ‘just for the story’, or ‘to see what happens next’. Once they have finished reading, they retain only a vague notion of what the novel was about, and they pass the book on to the local charity shop. But to understand novels at a deeper level and to get more from them, all you need to do is keep a few issues in mind whilst you’re reading. It’s not difficult – and with practice, it becomes easier, then second nature.

What you will be doing is keeping one part of your attention focussed on the events of the story, but other parts on how the story is being told, features of the characters, and the finer points of language in the text. You will become an intellectual multi-tasker.

These guidance notes will give you some idea of things to look for, and activities you might not have thought of before. This approach will help you find greater depths and meanings in the world of fiction. It will also help you to understand how skilled authors put a story together, and how their works are full of subtle and complex effects which make their fictional worlds believable to us.


1. The author

Make a note of the author’s name – and try to find out something of the background or biography. If the author is well known, simply type <Author Name Biography> into Google, and you will get the life story plus links to further reading at Wikipedia.

What are the author’s dates? The answer to this question gives you a historical context into which the book and its author can be placed. More on this later.

There is no guaranteed one-to-one connection between authors’ lives and the stories that they write, but most novelists write about issues that interest them or have touched their imagination in some way.

Has the author written any other books of the same kind? Where does the one you are reading appear in the list? Does it fit into a particular genre – which means the type of story. Is it a romance, thriller, or detective story? Each of these genres has its own ‘rules’.

For instance best-selling Agatha Christie specialised in detective stories. We admire the way her sleuths Hercule Poirot and Miss Marples solve crimes from shrewdly observed details. But we wouldn’t expect them to behave in the same way as secret agent James bond in Ian Flemming’s spy thrillers.


How to read a novel


2. The book

Pick up the book you’re going to read. What do you know about it already? There’s a lot of information about it that’s part of the book itself. The back cover might give you a taster of the plot or details of the author.

When was the book first published? Turn inside to the title, then look on the next page, which usually gives details of its publication. Has it been reprinted a number of times? That’s usually a sign of its popularity.

First published 1988

Reprinted 1990, 1992, 1994

Second edition 1996

New introduction (c) Simon Blackstaff 2005

This tells us that the book was successful on first publication, that a new edition was created after less than ten years, and that after seventeen it has been dignified with an introduction.

Have a look at the opening of the novel. Charles Dickens’ A Tale of Two Cities begins

It was the best of times: it was the worst of times.

You just know that this is going to be a novel of tension and conflict from the very opening sentence.


3. The introduction

The book might have an introduction – often written by someone other than the author (as in the example above). This will usually give you information about the characters and themes of the novel – which could be helpful in telling you what to look out for.

It should not give away crucial details of the plot. But no matter how carefully written, it’s bound to influence the way you read the novel. You have two choices. You can read it either before or after you read the novel.

As you develop more experience and confidence, you’ll probably choose to read the introduction after reading the novel. This will enable you to form your own opinions of the book, without being influenced from the outset.


4. The story

In a novel, the story is basically a sequence of what happens in the book. It is a narrative of events arranged in some time sequence. As a reader, you are being invited to follow this sequence until you reach the end of the novel and have the complete picture in your mind.

Most people have no trouble in understanding a simple series of events – even if they contain flashbacks or a jumbled time-sequence. That’s because almost everybody has followed stories in books, newspapers, and on television. Problems only arise when the novel is long, complex, and contains lots of characters.

When that’s the case, you will need to become a more active reader. This means making a brief note of what happens in each chapter – plus creating a list of characters.

These notes and lists will help you in two ways. You will have a record of names and events to which you can refer. But more importantly, the very act of writing them down will help you to remember them.


5. The characters

Authors can choose any number of ways to make their characters realistic, memorable, or convincing. They might give them a striking physical appearance, make them act in a vivid manner, or have them speak in a way that stands out.

Miss Havisham, the embittered old woman in Great Expectations, was jilted at the altar, and has been wearing her wedding dress ever since. The detective Sherlock Holmes plays the violin (and takes opium!) whilst he is solving crimes. Humbert Humbert in Lolita makes literary jokes whilst he is murdering his rival, Clare Quilty. Heathcliffe in Wuthering Heights jumps into the grave of his true love Catherine Earnshawe, wishing to embrace her as if she was alive. You will not forget these characters after reading about them.

At the opening of Pride and Prejudice it might not be easy to distinguish between Mr Bingley and Mr Darcy when they set the hearts of the Bennet girls fluttering. But if you make brief notes on what you know about them (age, home, appearance) it will help you to understand their roles in the story.


Studying FictionStudying Fiction is an introduction to the basic concepts and technical terms you need when making a study of stories and novels. It shows you how to understand literary analysis by explaining its elements one at a time, then showing them at work in short stories which are reproduced as part of the book. Topics covered include – setting, characters, story, point of view, symbolism, narrators, theme, construction, metaphors, irony, prose style, tone, close reading, and interpretation. The book also contains self-assessment exercises, so you can check your understanding of each topic.

Studying Fiction Buy the book at Amazon UK
Studying Fiction Buy the book at Amazon US


5. The plot

In a novel, the story is basically the sequence of what happens. It’s not the same thing as the plot. E.M.Forster explained the difference as follows:

“The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot.

The key difference here is that element of causality. There is some significant reason connecting events in the story. In a murder story the detective eventually finds hidden connections between clues to solve a crime. In Pride and Prejudice the heroine Elizabeth Bennett overcomes her prejudice and realises that the hero Mr Darcy is in love with her after all. In Great Expectations the hero Pip eventually realises that his true benefactor is not a rich woman but a convict he helped to escape as a child.

Some novels have plots that are quite difficult to unravel, but good authors normally give readers enough evidence to be able to work out what is going on. Hidden solutions and surprise endings produced like rabbits out of a hat leave readers feeling cheated.


6. The theme

The theme in a novel is not the same thing as the story or plot. It’s something larger and more general – like a single concept, or the moral of the story. For instance Jane Austen’s Mansfield Park explores the theme of education. It’s a story of a young girl who goes to live with rich relatives and eventually marries their youngest son. But almost every character in the novel learns a lesson from mistakes or errors of judgement they make.

So – the story is a version of the Cinderella tale – the poor young girl who eventually gets her prince. But the theme of the novel is a more subtle issue, running through the lives of other characters as well.


7. The style

The style in which a novel is written will reveal one very important factor – the author’s attitude to the content of the story. This will give you some idea of how to ‘read’ the novel: that is, how to understand and appreciate it.

Here’s the opening of Raymond Chandler’s 1939 hard-boiled detective novel The Big Sleep.

It was about eleven o’clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, tie and display handkerchief, black brogues, black wool socks with dark blue clocks on them. I was neat, clean, shaved and sober, and I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.

The main hallway of the Sternwood place was two stories high. Over the entrance doors, which would have let in a troop of Indian elephants, there was a broad stained-glass panel showing a knight in dark armor rescuing a lady who was tied to a tree and didn’t have any clothes on but some very long and convenient hair. The knight had pushed the vizor of his helmet back to be sociable, and he was fiddling with the knots on the ropes that tied the lady to the tree and not getting anywhere. I stood there and thought that if I lived in the house, I would sooner or later have to climb up there and help him. He didn’t seem to be really trying.

This is a first-person narrative. The fictional detective Marlowe is relating the story – so his manner of expression tells us a lot about him. It also tells us how the author Raymond Chandler is inviting us to view the story.

The literary style provides us with lots of conventional details – his suit, shirt, and shoes – but then he reveals that he is ‘sober’. This not only tells us that he normally drinks a lot, but his comment ‘I didn’t care who knew it’ is the sort of amusing and ironic inversion that helps to create his witty yet tough-guy persona.

‘I was calling on four million dollars’ In a factual sense he is visiting someone rich: but the expression does a lot more. This is a compressed figure of speech (metonymy) which also characterises the crime novel. It’s like a cartoon, with everything summed up in a single vivid image.

How to read a novelMarlowe’s description of the stained glass window reinforces his characterisation. He describes the figures in a naive manner, as if he had never seen such an emblematic composition before. The lady ‘didn’t have any clothes on’ and the knight has pushed his visor back ‘to be sociable’ but he was ‘not getting anywhere’. Raymond Chandler is simultaneously creating his main character – who is tough, but a little naive – and is giving us clues about how we should view the novel. It’s not to be taken entirely seriously. In fact describing European art from a naive American perspective is a device he has taken from Mark Twain. There is lots of serious crime ahead in the rest of the novel, but he is creating a witty and ironic point of view which we are invited to share.


8. The setting

It is possible to have novels with no setting. The events might take place in a character’s mind – as in Dostoyevski’s Notes from Underground for instance, or Samuel Beckett’s The Unnamable. But most novelists will try to convince readers to take their stories seriously by giving them a credible setting. Charles Dickens’s Bleak House is set in a London whose streets we can still walk down; and the events of Tom Woolfe’s The Bonfire of the Vanities can be traced on a street map of New York – as we once did when I was teaching that novel.

Some novelists are able to evoke the spirit of a place so vividly that literary tourists are attracted from all over the world to visit the locations. Bath is full of Jane Austen fans, re-tracing the steps of characters from Nothanger Abbey, and large parts of south-west England (Dorset, Wiltshire, and Somerset) attract visitors to Thomas Hardy’s fictional region of Wessex. He might have changed the name of the hills above Dorchester to Egdon Heath, but his passionate description of the countryside is so vivid and powerful that readers will travel half way round the world to see the original.


9. Historical context

This term means ‘social conditions at the time the novel was written’. In other words, the sort of things that were happening, how people behaved, and what they believed in the period the novel was written. Your awareness of these matters will depend upon the depth of your historical knowledge, and it is something which you will develop, the more your read.

Why is it important? Here’s an example – from Jane Austen again. Any number of her young female characters have their eye fixed upon marriage, but they have to be very careful about choosing the right man. All sorts of moral problems arise in her novels about making the right decision. If something goes wrong and the engagement goes on too long or is broken off, it will be regarded as disastrous.

You might think – what’s the problem? She can simply choose somebody else.

But in polite society during the early nineteenth century, women were not free to act as they wished, and certainly not free to choose a husband. A broken engagement would cast a dark shadow over a young woman’s reputation. It would be thought that if her fiance broke off the engagement, there must be something wrong with her.

The same suspicion would even fall on an engagement that was protracted. If the man had made his choice (it was the man who proposed) then his failure to follow through would immediately arouse suspicion – on the woman.

The stories and plots of any number of novels rest on social conditions quite unlike our own, and in fact at a more advanced level of reading the content of novels is one of the richest sources of social history we may have about a period.


10. Reading and taking notes

Novels will yield up more of their riches if you are prepared to do a little work whilst reading them. This means making notes as you go along. You can make a note of anything that strikes you as interesting, but here are some suggestions:

  • the appearance of characters
  • recurring themes or motifs
  • features of the author’s style
  • plot twists or crucial scenes
  • important details of the story

It’s certainly a good idea to summarize the events of each separate chapter. This will help you keep the events of the story in your mind.

Some do’s and don’ts

If something strikes you as important or interesting, underline the text – but also put a word or two in the margin that gives it a title. In other words, give a name to what you think is important.

Don’t underline whole paragraphs: that creates an ugly page, and it’s a waste of time. Instead, write a note in the top or bottom margin, saying what you think is important. Or put a circle round a name or a special couple of words.


Teaching the Novel and Reading for Pleasure



Salman Rushdie

© Roy Johnson 2011


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How to structure an essay

November 21, 2009 by Roy Johnson

What is structure?

Structure is the underlying framework which holds something together. You might not be able to see it, but it’s underneath the outer shape – like the skeleton of a body or the steel girders under the surface of a skyscraper.

The most suitable structure for an essay will depend upon the subject, the title of the essay, or the question to which it is an answer. So the structure for any given piece of work will grow naturally out of these factors. But you can learn about the process fo creating structure by following these guidance notes. Your essays need to be well structured, and this is one simple way of understanding what that means and what is required.

The simplest structure or plan for any essay is as follows:

  1. introduction
  2. main contents
  3. conclusion

This is the basic minimum. Keep in mind that it must start with an introduction and end with a conclusion. Of course, that is rather simplistic, but it’s important that you grasp this basic shape or arrangement of parts.

You could think of it like a sandwich. The introduction and conclusion are like the outer layers of bread, and the main contents are the filling – the meaty or more serious part. You will still need to arrange the main contents in some way – but we’ll come to that next.

Arranging the parts – 1

The first thing to recognise is that the body of the essay – the main arguments – need to be arranged in some way. The arrangement of these parts will depend upon the subject, but it may be any of the following:

  • logical progression
  • increasing significance
  • equal significance
  • chronological order
  • narrative sequence
  • category groupings

Imagine you were writing an essay about French wine. You have decided to discuss four red wines and four white wines. The structure for this essay could be as shown here.

Essay structure

1. Introduction

2. Red wines

  • wine 1
  • wine 2
  • wine 3
  • wine 4

3. White wines

  • wine 1
  • wine 2
  • wine 3
  • wine 4

4. Conclusion

This is clear, simple, and uncomplicated. The red wines have been kept separate from the white wines, so the essay structure is in four distinct parts. There are also four separate examples under red wine and white wine – so the essay is nicely balanced, with equal weight given to each category.

If you are in any doubt, it’s always a good idea to create a clear and simple structure of this kind. But if you felt more ambitious, you could arrange the same elements with a different structure. Let’s see how that can be done.

Arranging the parts – 2

The last example created structure by dividing the wines into reds and whites. But you could just as easily create structure by arranging the wines by region. This could be done using arrangement shown here.

Essay structure

1. Introduction

2. Loire

  • red wine
  • white wine

3. Bordeaux

  • red wine
  • white wine

4. Cotes du Rhone

  • red wine
  • white wine

5. Bugundy

  • red wine
  • white wine

6. Conclusion

It’s the same number of examples, but the arrangement is slightly more complex. Notice that there are now six parts to the essay structure, and an example of red wine and white wine is discussed for each region

This arrangement might also make the essay more interesting to read. Notice how each item is kept separate in the essay plan – so they don’t get mixed up. And each example might be discussed in a paragraph of its own. Next we’ll see how this process can be taken one step further.

Creating essay structure

You might often be asked to write an essay considering the arguments for and against some topic or proposition. For instance – “Consider the arguments for and against congestion charges in city centres.” This is a very common form of writing exercise, because it is forcing you to look at an issue from different points of view.

There are two ways you can arrange the structure for an essay of this type. Here’s the first, which we’ll call Strategy A.

Essay plan – Strategy A

1. Introduction

2. Arguments in favour of congestion charges

  • [traffic] reduces volume
  • [ecology] less air pollution
  • [economy] generates local income
  • [politics] positive social control

3. Arguments against congestion charges

  • [traffic] public transport alternatives
  • [ecology] transfers problem elsewhere
  • [economy] reduces profitable activity
  • [politics] punishes tax-payers

4. Conclusion

The structure is simple, clear, and uncomplicated. The essay is in four parts, and the arguments in favour of congestion charges are kept separate from the arguments against.

Notice that the same topics (traffic, ecology, economy, and politics) are covered in both the case ‘for’ and ‘against’. This gives the essay some structual balance, and it shows that an effort is being made to match the substance of the arguments ‘for’ and ‘against’.

Essay structure – Strategy B

Strategy A kept all the arguments for separate from those against. But here’s Strategy B – which is the most sophisticated essay structure of all.

You can see that in this example the structure is arranged in the form of TOPICS – and each one contains an argument for and against the proposal.

Essay plan

Introduction to congestion charges

TOPIC 1 – Traffic

  • [for] reduces volume
  • [against] public transport alternatives

TOPIC 2 – Ecology

  • [for] less air pollution
  • [against] transfers problem elsewhere

TOPIC 3 – Economy

  • [for] generates local income
  • [against] reduces profitable activity

TOPIC 4 – Politics

  • [for] positive social control
  • [against] punishes tax-payers

Conclusion

The topics are kept separate, and each one is used as the basis for an argument for and against the proposition (of introducing congestion charges).

It’s important if you are using this essay structure to keep the arguments ‘for’ and ‘against’ clearly distinguished and firmly related to the question. And the topics must be clearly identified and matched. That is, you must not put an argument for economy alongside one against traffic.

This strategy should only be used if you are experienced, but the result is a more sophisticated essay. This approach demonstrates that you are able to think clearly, organise your arguments, and produce a piece of writing which delivers what the question is designed to call forth.

© Roy Johnson 2009


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How to study a novel

September 16, 2009 by Roy Johnson

reading novels and effective study skills

Why study a novel?
There’s nothing wrong with reading a novel just to pass the time, or as an alternative to watching TV. But if you want to get more out of your reading experience, if you want to start appreciating the finer points of literature, or if you want to make a serious study of the books you read – then you need to go in at a deeper level. For this you may need new reading techniques.

The tips and skills listed here are not in any order of priority, and some may be more appropriate for the book you are reading than others. Use them in any combination possible, and I guarantee you’ll start seeing things in novels you never saw before.

Method
There isn’t one single formula or a secret recipe for the successful study of a novel. But to do it seriously you should be a careful and attentive reader. This means reading, then re-reading. It means making an active engagement with the book, and it probably means reading more slowly than usual. And it means making notes.

Approach
You can read the novel quickly first, just to get an idea of the story-line. Then you will need to read it again more slowly, making notes. If you don’t have time, then one careful slower reading should combine understanding and note-taking. For instance you could read a novella such as Joseph Conrad’s Heart of Darkness quite quickly, then re-read it more carefully, making detailed notes. But in the case of a long novel such as Charles Dickens’s Bleak House it’s unlikely that you would have enough time to read it more than once. You would need to make the notes at the same time as a single reading.

Make notes
There are two possible types of notes – some written in the pages of the book itself, and others on separate sheets of paper. Those in the book are for highlighting small details as you go along. Those on separate pages are for summaries of evidence, collections of your own observations, and page references for study topics or quotations.

Notes written in the book are absolutely vital if you are going to write about the book – say for a term paper or a coursework essay. They will save you hours of searching through the pages to locate a passage you wish to quote.

Notes in the book
Use a soft pencil – not a pen. Ink is too distracting on the page. Don’t underline whole paragraphs. If something strikes you as interesting, write a brief note saying why or how it is so. If you read on the bus or in the bath, use the inside covers and any blank pages for making notes. Do not of course write in library books – only your own copy. To do so is both insulting to other readers, and very stupid – because you lose the notes when the book is returned.


Vladimir Nabokov’s notes on Kafka’s Metamorphosis

Kafka - Nabokov


What to note?
You can nmake a note of anything that strikes you as interesting, but here are some suggestions:

  • the appearance of characters
  • recurring themes or motifs
  • features of the author’s style
  • plot twists or crucial scenes
  • important details of the story

Some do’s and don’ts
Underline up to a couple of lines of the text if necessary – but also put a word or two in the margin that gives it a title. In other words, give a name to what you think is important. Don’t underline whole paragraphs: that creates an ugly page, and it’s a waste of time. Instead, write a note in the top or bottom margin, saying what you think is important. Or put a circle round a name or a special couple of words.

Separate notes
You will definitely remember the characters, events, and features of a novel more easily if you make notes whilst reading. Use separate pages for different topics. You might make a record of

  • characters
  • chronology of events
  • major themes
  • stylistic features
  • narrative strategies

Characters
Make a note of the name, age, appearance, and their relationship to other characters in the novel. Writers usually give most background information about characters when they are first introduced into the story. Make a note of the page(s) on which this occurs. Note any special features of main characters, what other characters (or the author) thinks of them.


Studying FictionStudying Fiction is an introduction to the basic concepts and technical terms you need when making a study of stories and novels. It shows you how to understand literary analysis by explaining its elements one at a time, then showing them at work in short stories which are reproduced as part of the book. Topics covered include – setting, characters, story, point of view, symbolism, narrators, theme, construction, metaphors, irony, prose style, tone, close reading, and interpretation. The book also contains self-assessment exercises, so you can check your understanding of each topic.

Studying Fiction Buy the book at Amazon UK
Studying Fiction Buy the book at Amazon US


Chronology of events
A summary of each chapter will help you reconstruct the whole story long after you have read it. The summary prompts the traces of reading experience which lie dormant in your memory. If the book is divided into chapters, make a short summary of each one as you finish reading it.

A chronology of events might also help you to unravel a complex story. It might help separate plots from sub-plots, and even help you to see any underlying structure in the story – what might be called the ‘architecture of events’.

Major themes
These are the important underlying issues with which the novel is concerned. They are usually summarised as abstract concepts such as – marriage, education, justice, freedom, and redemption. These might only emerge slowly as the novel progresses on first reading – though they might seem much more obvious on subsequent readings.

Seeing the main underlying themes will help you to appreciate the relative importance of events. It will also help you to spot cross-references and appreciate some of the subtle effects orchestrated by the author.

Stylistic features
These are the decorative and literary hallmarks of the writer’s style – which usually make an important contribution to the way the story is told. The style might be created by any number of features:

  • choice of vocabulary
  • imagery and metaphors
  • shifts in tone and register
  • use of irony and humour

Quotations
If you are writing an essay about the novel, you will need quotations from it to support your arguments. You must make a careful note of the pages on which they occur. Do this immediately whilst reading – otherwise tracking them down later will waste lots of time.

Record page number and a brief description of the subject. Write out the quotation itself if it is short enough. Don’t bother writing out long quotations.

Bibliography
If you are reading literary criticism or background materials related to the novel – make a full bibliographic record of every source. In the case of books, you should record – Author, Book Title, Publisher, Place of publication, Date, Page number.

If you borrow the book from a library, make a full note of its number in the library’s classification system. This will save you time if you need to take it out again at a later date.

In the case of Internet and other digital sources (CDs, websites, videos) you need to look at our guidance notes on referencing digital sources.

Maps and diagrams
Some people have good visual memories. A diagram or map may help you to remember or conceptualise the ‘geography’ of events. Here’s Vladimir Nabokov’s diagram of the geography of Southerton in Jane Austen’s Mansfield Park.

Mansfield Park diagram

Chapter summaries
Many novels are structured in chapters. After reading each chapter, make a one sentence summary of what it’s about. This can help you remember the events at a later date. The summary might be what ‘happens’ in an obvious sense [Mr X travels to London] but it might be something internal or psychological [Susan realises she is ‘alone’].

Deciding what is most important will help you to digest and remember the content of the novel. The process of deciding will also help you to separate the more important from the less important content.

Making links
Events or characters or details of plot may have significant links between them, even though these are revealed to the reader many pages apart. Always make a note as soon as you see them – because they will be very hard to find later.

Use a dictionary
Some novelists like to use unusual, obscure, or even foreign words. Take the trouble to look these up in a good dictionary. It will help you to understand the story and the author, and it will help to extend the range of your own vocabulary. If you need help choosing a good dictionary for studying, have a look at our guidance notes on the subject.

What is close reading?
When you have become accustomed to looking at a novel in greater depth, you might be interested to know that there are four possible stages in the process of understanding what it has to offer and what can be said about it. These are the four, in increasing degree of complexity.

1. Linguistic
You pay especially close attention to the surface linguistic elements of the text – that is, to aspects of vocabulary, grammar, and syntax. You might also note such things as figures of speech or any other features which contribute to the writer’s individual style. This level of reading is largely descriptive.

2. Semantic
You take account at a deeper level of what the words mean – that is, what information they yield up, what meanings they denote and connote. This level of reading is cognitive. That is, we need to understand what the words are telling us – both at a surface and maybe at an implicit level.

3. Structural
You note the possible relationships between words within the text – and this might include items from either the linguistic or semantic types of reading. This level of reading is analytic. You assess, examine, sift, and judge a large number of items from within the text in their relationships to each other.

4. Cultural
You note the relationship of any elements of the text to things outside it. These might be other pieces of writing by the same author, or other writings of the same type by different writers. They might be items of social or cultural history, or even other academic disciplines which might seem relevant, such as philosophy or psychology. This level of reading is interpretive. We offer judgements on the work in its general relationship to a large body of cultural material outside it.

Next steps
If you want a sample of these four levels of reading illustrated with brief extracts from a short story and a long novel, here are –

  • Katherine Mansfield’s ‘The Voyage’
  • Charles Dickens’s Bleak House

© Roy Johnson 2004


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How to summarize a book

January 8, 2012 by Roy Johnson

What is a book summary?How to summarize a book

A summary of a book is a digest of all its main points. It should be a shorter version or a précis of its main arguments or topics – depending on the type of book.

It should capture the purpose of the book and include the most important parts of the original. Smaller details and illustrative examples will not be included.

The summary should re-cast and express the original material in your own words. It is not enough to quote parts of the original text. That would be a collection of extracts rather than a summary.

A summary should be a reasonable and impartial account of the original, without intruding any bias or value judgements. If you add your own opinions, it will become a book review rather than a summary.


How to summarize

Before you start, get some idea of the length and type of summary you are going to create. Have a look at examples from the field in which you’re working. If this isn’t possible, set yourself a word limit and create an outline plan.

First of all check your book for a table of contents. If it has one this will immediately provide you with some idea of its structure and the nature of the topics it covers.

Next look through the book quickly to get a rough idea of its subject and scope. This will give you a general idea of what to cover in the task ahead. If the book has chapters, these can provide a set of headings for your plan.

You should immediately start making notes. Don’t worry if they are not grammatically complete or well formed. These are the raw materials from which you can make your finished summary later.

Your main task is to capture a general outline of the contents. The amount of effort you put into
creating the summary will depend upon the seriousness of the task and the amount of time you have at your disposal.

Draw up a list of the topics the book covers – or make a diagram. A simple picture of boxes or a spider diagram can often be helpful. Some people visualise their ideas in this way, and it can be a fruitful approach for ‘non-literary’ people.

Look out for topic sentences that signal the main lines of arguments. These are often the first sentence in a paragraph. In good quality writing the remainder of the paragraph should explain and expand on the topic sentence.

Write a one or a two-sentence account of each section you identify. Focus your attention on the main points. Leave out any illustrative examples. Don’t be tempted to fill out your work with a detailed examination of minor details just to fill up the space. This will only weaken the summary.

Work through the text to identify its main sections or arguments. These might be summarized as short paragraphs. Remember that the purpose and definition of a paragraph is that it deals with one issue or topic.


Writing the summary

When you have finished reading the book, you should have a series of jottings, notes, and sentences, maybe a list of topics, and perhaps some half-formed observations. These fragments need to be arranged in some logical or persuasive order, then fashioned into something readable.

You are not obliged to follow the same structure or sequence of events as the original text, but your summary certainly needs a shape or structure as an independent piece of writing. You might choose any of the following approaches in arranging the items of your notes:

  • logical progression – from A to Z
  • increasing significance – from small to big
  • chronological order – from older to newer
  • narrative sequence – from first to next
  • grouping of topics – fruits, vegetables, wines

You might create the plan first, then fill in its parts with your own text. Alternatively, the plan might emerge from your work as you flesh out the parts into complete sentences. Don’t imagine that this part of the process can be done easily at your first attempt.

Expand each of your notes or topics until it makes a grammatically complete sentence. Then put statements dealing with the same topic next to each other. Be prepared to move the parts around until you find their best order.

The central structure of your results will be determined by the content of the book you are summarising. But any summary will be more successful if it has a good introduction and a satisfying conclusion.

The introduction is usually a general statement which presents an overview for the reader. It should launch the subject of enquiry and give some idea of what is to come. The conclusion does the converse – it wraps up the summary with a general statement that encapsulates the whole piece of writing.


Summary or review?

There is a difference between a book summary and a book review. A summary should be a reasonably neutral account of the book and its contents, whereas a review is a personal response to the book which might include criticising or praising the author’s approach. A review might also draw comparisons with other works of a similar kind.

In a summary you will be keeping your personal opinions in check, and concentrating on giving the best account possible of what the book offers. In a review on the other hand, you are often expected to make some sort of evaluative judgement on the approach that has been taken. The sample summary that follows combines both of these approaches.


Sample summary

Chris Baldick is a specialist in literature of the early twentieth century, and this collection of his essays covers the period 1910 to 1940, which is essentially the highpoint of what is now called ‘modernism’.

In terms of structure the first group of chapters covers the social, linguistic, and aesthetic background of the period, and then he discusses writers grouped according to literary forms – short stories, drama, poetry, and the novel. He highlights major figures – James Joyce, Virginia Woolf, D.H.Lawrence, and T.S.Eliot – but also considers writers who were once best sellers and held in high esteem, such as Arnold Bennett and Somerset Maugham. These are accompanied by almost-forgotten figures such as Dornford Yates, Aldous Huxley, and Elizabeth Bowen who were very successful in their own time. Part three of the book covers sociological issues such as English names, the Great War, childhood, sexuality, and censorship.

He starts with a well informed discussion of the writer’s relationship with literary commerce. Those who earned most (Arnold Bennett) were successful at exploiting new markets and media such as the newspapers and magazines. He reveals those writers who were sponsored by rich patrons (Joyce) as well as others who were kept by a wealthy spouse. D.H. Lawrence not only made a handsome profit from the subscription-published Lady Chatterley’s Lover but invested it in stocks and shares on Wall Street and made even more.

Each chapter is prefaced by a discussion of new words that became current in the period, a device which provides both flavour and intellectual context. He also includes an interesting consideration of theories of the novel. This involves a detailed consideration of first and third person narrative modes.

There are separate interpretations of all the major works of the period – Howards End, Mrs Dalloway, Ulysses, Women in Love pitched at a level which make his approach to literary criticism accessible to beginners and interesting to those who know the novels well.

The other major strand of his argument is a sympathetic reconsideration of the lesser-known works of the period, such as Walter Greenwood’s Love on the Dole, Elizabeth Bowen’s The Death of the Heart, Dorothy Richardson’s Pilgrimage, and Aldous Huxley’s Chrome Yellow, as well as novels by Robert Graves, Naomi Mitchison, and Sylvia Townsend Warner.

The latter essays are studies in cultural history which take in the attitudes and issues of the period as they were mediated via its literary products. This covers the shattering effect of the first world war on the romantic and pastoral visions of Englishness which had been the establishment ideology during the first two decades of the century. He then traces this effect through the twenties and thirties, showing how a view of modern Britain came to be formed.

There’s a very good collection study resources and suggestions for further reading. These entries combine notes on the author biographies, together with available editions of their major works, plus secondary studies and criticism.

This is the fifth volume of the Oxford English Literary History series. It can be read continuously as an in-depth study of the period, dipped into as an introduction to literary modernism, or used as a rich source of reference.

Chris Baldick, The Modern Movement, Oxford: Oxford University Press, 2004, pp.477, ISBN 0198183100


Why summarize?

There are a number of reasons why a summary of a book might be required. The following are the most common in academic and commercial life.

Exercise

A book summary is often set as a writing exercise, instead of a formal academic essay. It tests both understanding of the book’s content, an ability to digest and express its ideas, a grasp of structure, and the writing skills necessary to produce a readable préis.

The task in such cases is to show your ability to put somebody else’s ideas into your own words, to give a coherent account of the topic under consideration, to produce a coherent structure for your account, and to come to some sort of conclusion concerning the book’s overall value to another reader.

Research

In some subjects of study, you may be required to provide what is called a ‘literature review’. This is a survey of currently available knowledge in the subject. Its object is to show that you understand the latest state of research in your subject.

You are expected to have a full command of the terminology of the subject, and to show that you are aware of its theoretical and methodological issues. You will also be expected to have a full grasp of the academic writing style with regard to footnotes, referencing, and bibliographic presentation.

Assessment

Sometimes a book summary is called for so that other people can judge whether it is suitable for their requirements. This could be when providing librarians with information on which they will base purchasing decisions. Or it could be written for the research division of a company with information which might inform their development plans.

In both cases an impartial summary of content is required, along with an account of any special features which might help the reader reach a decision.

Cataloguing

Sometimes a summary of a book is required for a catalogue, a card index, or an inventory. In such cases the summary is likely to be very short – just enough so that somebody else can see if it’s the sort of book they require.

In these cases it’s important to record all the book’s metadata – that is, information about it’s author, title, publisher, date of publication, and ISBN number. You might also need to describe it physically – noting if it is hardback or paperback. if it contains illustrations, and even its size on the shelf.


Summarize a book without reading it completely?

Is it possible? The quick answer to this question is – “Yes – but only if you are experienced”. You require an intimate knowledge of the subject in question, and you need to be confident in writing summaries. But how is it done?

If you know your subject well, you will immediately put into effect the summarizing skills listed here above. You take into account such matters as the level at which the book is pitched, its potential readership, the range of its contents, its structure, and any critical apparatus which may be attached, such as illustrations, tables, bibliographies, and suggestions for further reading. This provides you with an overview.

Then you need to glance through the preface or any introductory remarks to pick up the general argument or the individual approach of the author(s) to the subject. This requires good skim-reading skills.

Most books are split up into sections or chapters. You need to look through these quickly, making a summary of each one – then combine the notes you make to form a general summary. It may not be a lengthy or in-depth account of the book, but it should be enough for your purpose.

© Roy Johnson 2012


More on How-To
More on literary studies
More on writing skills


Filed Under: How-to guides, Literary studies, Writing Skills Tagged With: Academic writing, Essays, Precis, Reports, Research, Study skills, Summarizing, Writing skills

How to take notes

September 15, 2009 by Roy Johnson

important skills for successful study

1. In preparation for writing a piece of work, you should take notes from a number of different sources: course materials, set texts, secondary reading, interviews, or tutorials and lectures. You might gather information from radio or television broadcasts, or from experiments and research projects. The notes could also include your own ideas, generated as part of the planning process.

2. The notes you gather in preparation for writing will normally provide detailed evidence to back up any arguments you wish to make. They might also be used as illustrative material. They might include such things as the quotations and page references you plan to use in an essay. Your ultimate objective in planning will be to produce a one or two page outline of the topics you intend to cover.

3. Be prepared for the fact that you might take many more notes than you will ever use. This is perfectly normal. At the note-taking stage you might not be sure exactly what evidence you will need. In addition, the information-gathering stage should also be one of digesting and refining your ideas.

4. Don’t feel disappointed if you only use a quarter or even a tenth of your materials. The proportion you finally use might vary from one subject to another, as well as depending on your own particular writing strategy. Just because some material is not used, don’t imagine that your efforts have been wasted.

5. When taking notes from any source, keep in mind that you are attempting to make a compressed and accurate record of information, other people’s opinions, and possibly your own observations on the subject in question.

6. Your objective whilst taking the notes is to distinguish the more important from the less important points being made. Record the main issues, not the details. You might write down a few words of the original if you think they may be used in a quotation. Keep these extracts as short as possible unless you will be discussing a longer passage in some detail.

7. Don’t try to write down every word of a lecture – or copy out long extracts from books. One of the important features of note-taking is that you are making a digest of the originals, and translating the information into your own words.

8. Some people take so many notes that they don’t know which to use when it’s time to do the writing. They feel that they are drowning in a sea of information.

9. This problem is usually caused by two common weaknesses in note-taking technique:

  • transcribing too much of the original
  • being unselective in the choice of topics

10. There are two possible solution to this problem:

  • Select only those few words of the source material which will be of use. Avoid being descriptive. Think more, and write less. Be rigorously selective.
  • Keep the project topic or the essay question more clearly in mind. Take notes only on those issues which are directly relevant to the subject in question.

11. Even though the notes you take are only for your own use, they will be more effective if they are recorded clearly and neatly.

12. Good layout of the notes will help you to recall and assess the material more readily.

General guidelines
  • Before you even start, make a note of your source(s). If this is a book, an article, or a journal, write the following information at the head of your notes: Author, title, publisher, publication date, and edition of book.
     
  • Use loose-leaf A4 paper. This is now the international standard for almost all printed matter. Don’t use small notepads. You will find it easier to keep track of your notes if they fit easily alongside your other study materials.
     
  • Write clearly and leave a space between each note. Don’t try to cram as much as possible onto one page. Keeping the items separate will make them easier to recall. The act of laying out information in this way will cause you to assess the importance of each detail.
     
  • Use some system of tabulation. This will help to keep the items separate from each other. Even if the progression of numbers doesn’t mean a great deal, it will help you to keep the items distinct.
     
  • Don’t attempt to write continuous prose. Notes should be abbreviated and compressed. Full grammatical sentences are not necessary. Use abbreviations, initials, and shortened forms of commonly used terms.
     
  • Don’t string the points together continuously, one after the other on the page. You will find it very difficult to untangle these items from each other after some time has passed.
     
  • Devise a logical and a memorable layout. Use lettering, numbering, and indentation for sections and for sub-sections. Use headings and sub-headings. Good layout will help you to absorb and recall information. Some people use coloured inks and highlighters to assist this process of identification.
     
  • Use a new page for each set of notes. This will help you to store and identify them later. Keep topics separate, and have them clearly titled and labelled to facilitate easy recall.
     
  • Write on one side of the page only. Number these pages. Leave the blank sides free for possible future additions, and for any details which may be needed later.

Tony Buzan explains mind mapping

Mind-mapping guru Tony Buzan gives a brief demonstration of how the system works. Mind maps can be used for both note taking and note making.

This approach works for some but not all people.


Sample notes

What follows is an example of notes taken whilst listening to an Open University radio broadcast – a half hour lecture by the philosopher and cultural historian, Isaiah Berlin. It was entitled ‘Tolstoy’s Views on Art and Morality‘, which was part of the third level course in literary studies A 312 – The Nineteenth Century Novel and its Legacy.

Isaiah Berlin – ‘Tolstoy on Art and Morality’ – 3 Sep 89

1. T’s views on A extreme – but he asks important questns which disturb society

2. 1840s Univ of Kazan debate on purpose of A

T believes there should be simple answers to probs of life

3. Met simple & spontaneous people & soldiers in Caucasus

Crimean Sketches admired by Turgenev & Muscovites but T didn’t fit in milieu

4. Westernizers Vs Slavophiles – T agreed with Ws

but rejects science (Ss romantic conservatives)

5. 2 views of A in mid 19C – A for art’s sake/ A for society’s sake

6. Pierre (W&P) and Levin (AK) as egs of ‘searchers for truth’

7. Natural life (even drunken violence) better than intellectual

8. T’s contradiction – to be artist or moralist

9. T’s 4 criteria for work of art

  • know what you want to say – lucidly and clearly
  • subject matter must be of essential interest
  • artist must live or imagine concretely his material
  • A must know the moral centre of situation

10. T crit of other writers

  • Shkspre and Goethe – too complex
  • St Julien (Flaubert) inauthentic
  • Turgenev and Chekhov guilty of triviality

11. What is Art? Emotion recollected and transmitted to others

[Wordsworth] Not self-expression – Only good should be transmitted

12. But his own tastes were for high art

Chopin, Beethoven, & Mozart

T Argues he himself corrupted

13. Tried to distinguish between his own art and moral tracts

14. ‘Artist cannot help burning like a flame’

15. Couldn’t reconcile contradictions in his own beliefs

Died still raging against self and society

© Roy Johnson 2004


Filed Under: How-to guides, Literary studies, Study Skills Tagged With: Academic writing, note taking, Study skills, Taking notes, Writing skills

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