Milia McCoy

Period Seven

Crash Course Video Project

Goals

- Teach your peers about the book we read for summer reading in the style of “Crash Course.”

- Tie the points made in the chapter you’ve chosen from the summer reading book to ideas from texts you
have read in the past.

- Understand what it means to read literature like a professor.

1. Choose one chapter of the book that speaks to you.

Chapter 11: ...More Than It’s Gonna Hurt You: Concerning Violence

2. Review the chapter.

● Think about the points Foster makes in the chapter, and how they might influence our
interpretation of a text.

In ​How to Read Literature Like a Professor ​by Thomas C. Foster​, C

​ hapter 11: ...More Than It’s Gonna
Hurt You: Concerning violence, Foster explains that death, or in a vaugier sense, ​violence, ​is never what
is seems like initially. At least, that’s the case in literature.

● Explain those insights using examples from books you’ve read (not just the ones he mentions).

Lord of the Flies: The symbolic deaths of Simon and Piggy

3. Develop a ​3-4 minute ​video that includes the following information:

● Chapter summary.
 ● Several examples from/connections to a book you’ve read, illustrating how the points
made in the chapter affect our perception of the work.

● Optional examples from/connections to other books you’ve read.

In William Golding’s 1954, ​Lord of the Flies, ​there is an exceptional amount of violence that carries
through the short time span of the story.

Simon’s death was arguably the climax of the novel.

● At least one ​literary term ​used in the chapter as well as an example of that term.

“Violence is everywhere in literature.” ​(Foster, 96)

● Discussion questions you would like to address with the class.

- Is there a difference between mental/implied violence and physical violence in literature? Can it
be as symbolic or does it mean something else?
- In books revolving around violence does every act have to be symbolic or would it rather be the
violence as a whole?

4. Remember to use the elements of presenting you saw in the sample videos and in Crash Course to
make the video engaging and memorable.
5. You will play your video for class and be prepared to answer questions/lead a discussion on the
relevant chapter. (Participants - as you watch the videos be sure to ask questions and respond to
discussion questions.)

Crash Course Script:

Hi, my name is Milia McCoy and today we will be analyzing a significant chapter from ​How to Read
Literature Like a Professor ​by Thomas C. Foster​, ​that is ​crucial ​in literary analysis. The theme that Foster
tackles is regarding ​violence i​ n ​Chapter 11: ...More Than It’s Gonna Hurt You: Concerning violence​.
In Foster’s own words,

​“Violence is everywhere in literature.” (​ Foster, 96)

This is a ​hyperbole. ​Which is an exaggerated statement, that is not factual but meant to give a claim more
weight. This statement is meant to emphasize the prevalence of violence in literature as well as its
importance. Technically, violence is not EVERYWHERE in literature, BUT it can be found ALMOST
anywhere, and when it does it means something.

In chapter eleven, Foster explains that there are layers of symbolism that hide under what we, as readers,
might understand as ​just v​ iolence in our books, novels, or text. When the truth is it is much more than ​just
violence.

First and foremost, Foster notes that violence and/or death we encounter in the real world is never the
same as violence we encounter is literature. However, our connection with violence and death in the real
world, is why writing or reading about it novels is so captivating and symbolic.

“Violence is one of the most personal and even intimate acts between human beings, but it can also be
cultural and societal in its implications.” (Foster 95)

This quote is significant because it draws the connection of how personal violence is to us, the readers,
and how writers can use it to emphasize the themes of their stories.

Foster acknowledges that some violence or death is written as a narrative plot point. Killing off characters
to move the story on, cause conflict, or develop characters. However, he explains that for violence in a
fictional setting to have depth, or evoke an emotional response in readers, there needs to be meaning or
merit behind it.

“We sense greater weight or depth in works when there is something happening beyond the surface.”
(Foster 98)

So when violent acts are backed up with symbolic meaning, they are bound to resonate with readers.

An iconic novel with an exceptional amount of violence, is William Golding’s 1954, ​Lord of the Flies.
To say the very least, it is a morbid story of boys being boys.

In ​Lord of the Flies​, Piggy, is without a doubt the most sensible boy on the island. He represents common
sense, civilization, and logic.With the exception of Piggy and the protagonist, Ralph, the other boys
succumb to their violent and chaotic impulses. Piggy and Ralph try to reason with the uncontrolled boys,
but fail- and kill Piggy by brutally crushing him with a boulder.

Very cool, Golding!

Piggy’s death is not only saddening but results in the most chaotic chapter of the novel. Only after his
death the boys descend into a complete manic state, eventually setting the island on fire until they are
rescued. Piggy’s death in the novel symbolizes the fall of humanity and sense-since the boys fall apart
when they lose the only structure that is Piggy.

Is that not enough symbolic violence?

Well then look no furhter then Markus Zusak’s novel, ​The Book Thief​, taking place in Nazi Germany​.
This book inveibtly is filled to the brim with oppression, suffering, and death. A major theme Zusak
emphasizes is Mankind's capability of both compassion and cruelty. These contrasting behaviours are
demonstrated when the protagonists adopted father- Hans Hubermann- gives a piece of bread to a dying
Jewish man when he is overcome with sympathy. Sadly, this sincere act kindness results in both Hans and
the Jewish man to be whipped in front of everyone by a Nazi solider.

“The sound sickened her and she expected cracks to appear on her papa’s body. He was struck four times
before he, too, hit the ground. ” (304)

For Hans’ to be punished for acting out of compassion, makes his attack sting so much more. The act of
treating people like animals is already vicious, but to reward goodness with abuse only emphasizes how
heartless and inhumane people can be. Zusak knowingly added this scene to drive the contrasting
characteristics of humans home and just how capable we are of these radical behaviours.