Identify Author Of Quotes & Sayings

Once the curtain is raised, the actor is ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. — Sarah Bernhardt

But a situation that takes place at the opening of a novel always refers you to something else that has happened or is about to happen, and it is this something else that makes it risky to identify with me, risky for you the reader and for him the author; and the more gray and ordinary and undistinguished and commonplace the beginning of this novel is, the more you and the author feel a hint of danger looming over that fraction of "I" that you have heedlessly invested in the "I" of a character whose inner history you know nothing about, as you know nothing about the contents of that — Italo Calvino

Stories survive not just because of empathetic characters that we can still identify with but because the author has something to say to us and they have the ability to communicate that to the reader in a clear and often amusing way. Jane Austen knows how to hook a reader with her endearing and often infuriating characters but she also keeps us hooked by her wit, her observations, and her unique use of language. Lots of other writers had books published at the same time as Jane Austen and yet they've been lost to us. Austen has survived because she has a unique voice. But the themes she explores are also important. — Victoria Connelly

As you read deeper into the novel, you must modify your representations of the folk psychological representations that each character has. But since the metarepresentational load here increases dramatically with the complexity of the portrayal of the characters and their relationships to one another, it is no surprise that even partial expertise typically involves knowing how to find one's way about in the novel. It involves knowing how to locate and identify the folk psychological representations that respective characters have, and the signs of these in the novel itself. Here the representations that are the object of your own representations are located somewhere other than in your own head. In short, this understanding involves constructing a representational loop that extends beyond the head and into the minds of the fictional characters - and perhaps the narrator or even the author - with which you are engaged. — Robert Andrew Wilson

Two kinds of reading can be distinguished. I call them reading like a reader and reading like a writer ... when you read like a reader, you identify with the characters in the story. The story is what you learn about. When you read like a writer, you identify with the author and learn about writing. — Frank Smith

If utopia was illusion hypostasized, communism, going still further, will be illusion decreed, imposed: a challenge to the omnipresence of evil, an obligatory optimism. A man will find it hard to accommodate himself to it if he lives, by dint of ordeals and experiments, in the intoxication of disappointment and if, like the author of Genesis, he is reluctant to identify the Age of Gold with the future, with becoming. Not that he scorns the fanatics of "infinite progress" and their efforts to make justice prevail here on earth; but he knows, to his misery, that justice is a material impossibility, a grandiose meaninglessness, the only ideal about which we can declare quite certainly that it will never be realized, and against which nature and society seem to have mobilized all their laws. — Emil Cioran

1. "Mistress Jamieson" tells Mary when they meet: "My mother likes to say some people choose the path of danger on their own, for it is how the Lord did make them, and they never will be changed." Do you agree? Was it more true in the past than today? Did Mary purposely choose a path of danger? Who else? 2. The author has people in her own life with Asperger's syndrome who helped her with Sara's character. What was it like to be in the point of view of a person with Asperger's syndrome? Did you have any preconceived ideas about Asperger's? Did they change? 3. Journeys (physical and otherwise) are a prevalent theme in many of Susanna Kearsley's books. What journeys can you identify in this book, past and present? How do they differ for female and male characters? 4. Mary takes "Mistress Jamieson" as a role model. "She — Susanna Kearsley

It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character. — Rachel Kushner

I'd morphed, altered, nipped and tucked away bits of my personality for so long, I no longer recognized myself. I feared that one day, even if I wanted to, I wouldn't be able to identify myself. I'd be forever trapped in an image of another's making, and there would be no escape because I would have forgotten to want to escape.
Nida — Faiqa Mansab

For two years I have refused to answer idle questions on the order of "Is your novel an open work or not?" How should I know? That is your business, not mine. Or "With which of your characters do you identify?" For God's sake, with whom does an author identify? With the adverbs, obviously. — Umberto Eco

I do identify the escape hatch through which Foucault eludes the charge that he himself is an author/authority, hence a tyrant. He establishes the category of "founder of discursivity" for the authors he likes. Slippery, perhaps, but you can see what he means. — Paul Fry

The concept of an author, the single creative person who gives the text 'authority', only comes later in this period. Most Old English poetry is anonymous, even though names which are in no way comparable, such as Caedmon and Deor, are used to identify single texts. Caedmon and Deor might indeed be as mythical as Grendel, might be the originators of the texts which bear their names, or, in Deor's case only, the persona whose first-person voice narrates the poem. Only Cynewulf 'signed' his works, anticipating the role of the 'author' by some four hundred years. — Ronald Carter