Having a flexible perspective on genre, interpreting emotional truth and reading for literary worth will challenge the obscurity that Fragments would otherwise fall into. The reader must challenge the concept of genre in order to protect Fragments from obscurity. The autobiographical genre of Fragments gives it a certain authority among similar fictional accounts. The author of The Wilkomirski Affair describes this authority as illumination (Maechler 281). When reading an autobiography, readers are drawn to sympathize with the character more so than in a book of pure fiction.
Mark Twain’s seminal novel, The Adventures of Huckleberry Finn, deserves to be included in the canon of great American literature due to its pioneering use of common speech, its daring relationship between Huck and Jim, and the moral progress made by Huck despite the failure of the ending. Its “radical autonomy” (Bollinger 32) helps define modern American literature, which makes it “one of the central documents of American culture” (Trilling 1). At this time in American history, many believed that “the mark of a truly literary product was a grandiosity and elegance not to be found in the common speech” (Trilling 6). Twain’s use of common speech and a number of dialects help the reader make connections to each character and arrive at conclusions about them. Huckleberry Finn begins, “You don’t know me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter” (Twain 7).
The realism movement of the late nineteenth century produced works in literature that were marked by reduced sentimentality and increased objectivity. The goal was to let details tell the story, and remove noticeable bias of the author through scientific and detailed descriptions. While this form of storytelling undoubtedly is most accurate, it creates difficulties for authors to incorporate their themes into the story. This resulted in an increase in symbolism in realist works. The objects and descriptions within the story are the author’s vehicle for displaying the values and themes of the work.
“The critic asks “is this believable?” The novelist, “how can I get them to believe this”? In short she argues that a good novelist always has some sort of conflict to tell and it must be suspenseful. “Something other than breakfast”. She uses witty humour to loosen the audience up. Atwood discusses the several genres of fiction that are available in this time and explains how this is not only a time of gender crossover but of genre crossover.
Gothic novels were given a genre of their own primarily because of their emotional extremes and their dark themes. It was full of remote setting, and it was a reaction to the people who had contemporary thinking at that time. It also mixes with perception of the view of reader, and Stoker creates Jonathan Harker as a rational narrator to make the opening chapter reliable to readers. The first chapter introduces the reader to the setting and the character of Jonathan Harker within the format of the book is composed as a diary and journal entry. The reader knows this because the novel is written in the first person and other characters are introduced from Harker’s perspective.
Katrina, if you compare your passage with the original definition of Middle English, you notice that just a few words are actually changed but the whole concept and the way the ideas are organized are parallel to your passage. In both your work and the original definition of Middle English, first the Renaissance is mentioned, and then the dates are given, following with the Norman Conquest and ending with the example of Morte D’arthur. Katrina, I hope you notice that your work is too similar to the original definition. The main concern here is that you have not cited this information. It is completely okay to use someone else’s ideas but you have not given any credit to the author therefore this is an act of plagiarism.
Some may say that the written word is solely influenced by the spoken; that one’s written thoughts are a direct result of something one has personally said, heard, or interpreted. Others will argue that a story told through continuous verbal translation can only lead to a less significant conclusion than that which was originally intended. Regardless, establishing a definition for the relationship between the custom of oral tradition and the short story as a literary genre proves to be a complex argument. Oral tradition is thought to have allowed the short story genre to emerge as a tool of knowledge – to create new ideas in a permanent text rather than preserving those of oral cultures. Debates and opinions aside, the real question lies not
‘Burke is a conservative thinker and therefore opposed to change.’ DISCUSS ‘We must not attempt to fly, when we can scarcely pretend to creep.’ The words of Burke himself seem almost apt for describing the caution with which one must to approach this essay title. At first glance Burkes championing of the prejudices of his forefathers combined with he’s fierce criticism of the French Revolution, seem damming evidence to support the view that he was a strong opponent of change. However, this conclusion seems to be unjust. Robert Peel suggests conservatism can be described as ‘changing what you have to in order to preserve what you can’. If we accept this premise we can disregard the conclusion that Burke was of not of the opinion that change must be avoided altogether.
But these characters were no accident. They may not seem like they have significance to the story but in reality the author strategically used them in The Great Gatsby for adding to the plot, creating new and ongoing themes, and supporting the main characters. Myrtle Wilson’s presence in the novel builds all the way until the end of the story with the climax. Myrtle’s impact on the novel has the most effect on the story out of the other minor characters. It all starts with Myrtles lies and her affair.
TO LOVE OR NOT TO LOVE? “The most interesting aspects of texts written in different times is seeing the difference in what people value.” Possibly one of the best known piece of American prose fiction of its time, The Great Gatsby, by F. Scott Fitzgerald, develops an ironic but ultimately pessimistic point of view on the materialistic and superficial society presented in the 1920s which prevented the ideas of pure love. The form of a prose fiction does not have a structure which makes the novel unique. Sonnets from the Portuguese, by Elizabeth Barrett Browning, presents a more idealistic and optimistic view about love and hope. She portrays her personal voice through the use of sonnets, specifically Petrarchan.