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Literature | Euro Palace Casino Blog

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Literature is classified according to whether it is fiction or non-fiction , and whether it is poetry or prose. It can be further distinguished according to major forms such as the novel , short story or drama ; and works are often categorized according to historical periods or their adherence to certain aesthetic features or expectations genre.

Definitions of literature have varied over time: The value judgment definition of literature considers it to cover exclusively those writings that possess high quality or distinction, forming part of the so-called belles-lettres 'fine writing' tradition.

The formalist definition is that "literature" foregrounds poetic effects; it is the "literariness" or "poetic" of literature that distinguishes it from ordinary speech or other kinds of writing e.

Literary genre is a mode of categorizing literature. A French term for "a literary type or class". The history of literature follows closely the development of civilization.

When defined exclusively as written work, Ancient Egyptian literature , [13] along with Sumerian literature , are considered the world's oldest literatures.

Different historical periods are reflected in literature. National and tribal sagas, accounts of the origin of the world and of customs, and myths which sometimes carry moral or spiritual messages predominate in the pre-urban eras.

The epics of Homer , dating from the early to middle Iron age , and the great Indian epics of a slightly later period, have more evidence of deliberate literary authorship, surviving like the older myths through oral tradition for long periods before being written down.

Literature in all its forms can be seen as written records, whether the literature itself be factual or fictional, it is still quite possible to decipher facts through things like characters' actions and words or the authors' style of writing and the intent behind the words.

The plot is for more than just entertainment purposes; within it lies information about economics, psychology, science, religions, politics, cultures, and social depth.

Studying and analyzing literature becomes very important in terms of learning about our [ who? Through the study of past literature we [ who?

This can even help us to understand references made in more modern literature because authors often make references to Greek mythology and other old religious texts or historical moments.

Not only is there literature written on each of the aforementioned topics themselves, and how they have evolved throughout history like a book about the history of economics or a book about evolution and science, for example but one can also learn about these things in fictional works.

Authors often include historical moments in their works, like when Lord Byron talks about the Spanish and the French in "Childe Harold's Pilgrimage: Canto I" [22] and expresses his opinions through his character Childe Harold.

Through literature we are able to continuously uncover new information about history. It is easy to see how all academic fields have roots in literature.

Eventually everything was written down, from things like home remedies and cures for illness, or how to build shelter to traditions and religious practices.

From there people were able to study literature, improve on ideas, further our knowledge, and academic fields such as the medical field or trades could be started.

In much the same way as the literature that we study today continue to be updated as we [ who? As a more urban culture developed, academies provided a means of transmission for speculative and philosophical literature in early civilizations, resulting in the prevalence of literature in Ancient China , Ancient India , Persia and Ancient Greece and Rome.

Many works of earlier periods, even in narrative form, had a covert moral or didactic purpose, such as the Sanskrit Panchatantra or the Metamorphoses of Ovid.

Drama and satire also developed as urban culture provided a larger public audience, and later readership, for literary production.

Lyric poetry as opposed to epic poetry was often the speciality of courts and aristocratic circles, particularly in East Asia where songs were collected by the Chinese aristocracy as poems, the most notable being the Shijing or Book of Songs.

Over a long period, the poetry of popular pre-literate balladry and song interpenetrated and eventually influenced poetry in the literary medium.

In ancient China, early literature was primarily focused on philosophy, historiography , military science , agriculture, and poetry. China, the origin of modern paper making and woodblock printing , produced the world's first print cultures.

The most important of these include the Classics of Confucianism , of Daoism , of Mohism , of Legalism , as well as works of military science e.

Sima Qian 's Records of the Grand Historian. Ancient Chinese literature had a heavy emphasis on historiography, with often very detailed court records.

In ancient India, literature originated from stories that were originally orally transmitted. Early genres included drama , fables , sutras and epic poetry.

The Vedas are among the oldest sacred texts. The Samhitas vedic collections date to roughly — BCE, and the "circum-Vedic" texts, as well as the redaction of the Samhitas, date to c.

In ancient Greece, the epics of Homer , who wrote the Iliad and the Odyssey , and Hesiod , who wrote Works and Days and Theogony , are some of the earliest, and most influential, of Ancient Greek literature.

Classical Greek genres included philosophy, poetry , historiography, comedies and dramas. Plato and Aristotle authored philosophical texts that are the foundation of Western philosophy , Sappho and Pindar were influential lyric poets , and Herodotus and Thucydides were early Greek historians.

Although drama was popular in Ancient Greece, of the hundreds of tragedies written and performed during the classical age , only a limited number of plays by three authors still exist: Aeschylus , Sophocles , and Euripides.

The plays of Aristophanes provide the only real examples of a genre of comic drama known as Old Comedy , the earliest form of Greek Comedy, and are in fact used to define the genre.

Roman histories and biographies anticipated the extensive mediaeval literature of lives of saints and miraculous chronicles, but the most characteristic form of the Middle Ages was the romance , an adventurous and sometimes magical narrative with strong popular appeal.

Controversial, religious, political and instructional literature proliferated during the Renaissance as a result of the invention of printing, while the mediaeval romance developed into a more character-based and psychological form of narrative, the novel , of which early and important examples are the Chinese Monkey and the German Faust books.

In the Age of Reason philosophical tracts and speculations on history and human nature integrated literature with social and political developments.

The inevitable reaction was the explosion of Romanticism in the later 18th century which reclaimed the imaginative and fantastical bias of old romances and folk-literature and asserted the primacy of individual experience and emotion.

But as the 19th century went on, European fiction evolved towards realism and naturalism , the meticulous documentation of real life and social trends.

Much of the output of naturalism was implicitly polemical, and influenced social and political change, but 20th century fiction and drama moved back towards the subjective, emphasizing unconscious motivations and social and environmental pressures on the individual.

Writers such as Proust , Eliot , Joyce , Kafka and Pirandello exemplify the trend of documenting internal rather than external realities.

Genre fiction also showed it could question reality in its 20th century forms, in spite of its fixed formulas, through the enquiries of the skeptical detective and the alternative realities of science fiction.

The separation of "mainstream" and "genre" forms including journalism continued to blur during the period up to our own times.

William Burroughs , in his early works, and Hunter S. Thompson expanded documentary reporting into strong subjective statements after the second World War , and post-modern critics have disparaged the idea of objective realism in general.

Theorists suggest that literature allows readers to access intimate emotional aspects of a person's character that would not be obvious otherwise. Mitchell, for example, explains how one author used young adult literature to describes a state of "wonder" she had experienced as a child.

Hogan also explains that the time and emotion which a person devotes to understanding a character's situation makes literature "ecological[ly] valid in the study of emotion".

Some psychologists regard literature as a valid research tool, because it allows them to discover new psychological ideas.

Psychologist Maslow's "Third Force Psychology Theory" helps literary analysts to critically understand how characters reflect the culture and the history to which they belong.

It also allows them to understand the author's intention and psychology. It also suggests that neurological development hinders actualizing this and a person becomes estranged from his or her true self.

Lawrence 's 'pristine unconscious' is a metaphor for the real self". Poetry is a form of literary art which uses the aesthetic qualities of language including music, and rhythm to evoke meanings beyond a prose paraphrase.

Prior to the 19th century, poetry was commonly understood to be something set in metrical lines; accordingly, in a definition of poetry is "any kind of subject consisting of Rhythm or Verses".

The Twentieth Century will have its share in literature and art. Meaning "the whole of the writing on a particular subject" is from ; sense of "printed matter generally" is from Synonyms Examples Word Origin.

See literate , -ure. Literature, belles-lettres, letters refer to artistic writings worthy of being remembered. In the broadest sense, literature includes any type of writings on any subject: English literature of the 16th century.

Belles-lettres is a more specific term for writings of a light, elegant, or excessively refined character: His talent is not for scholarship but for belles-lettres.

From the 17th century and onward, the most popular poetic form was the haiku , which has only 17 syllables.

This development is relevant to the West because it spotlights the ever-increasing emphasis which has been laid on intensity of communication, a characteristic of Western poetry and of literature generally as it has evolved since the late 19th century.

In East Asia all cultivated people were supposed to be able to write suitable occasional poetry, and so those qualities that distinguished a poem from the mass consequently came to be valued above all others.

In some literatures notably classical Chinese, Old Norse, Old Irish , the language employed is quite different from that spoken or used in ordinary writing.

This marks off the reading of literature as a special experience. In the Western tradition, it is only in comparatively modern times that literature has been written in the common speech of cultivated men.

The Elizabethans did not talk like Shakespeare nor 18th-century people in the stately prose of Samuel Johnson or Edward Gibbon the so-called Augustan plain style in literature became popular in the late 17th century and flourished throughout the 18th, but it was really a special form of rhetoric with antecedent models in Greek and Latin.

The first person to write major works of literature in the ordinary English language of the educated man was Daniel Defoe ?

Robinson Crusoe is much more contemporary in tone than the elaborate prose of 19th-century writers like Thomas De Quincey or Walter Pater.

Other writers have sought to use language for its most subtle and complex effects and have deliberately cultivated the ambiguity inherent in the multiple or shaded meanings of words.

Eliot in his literary essays is usually considered the founder of this movement. Actually, the platform of his critical attitudes is largely moral , but his two disciples , I.

The basic document of the movement is C. Only a generation later, however, their ideas were somewhat at a discount. However, ambiguity remained a principal shaping tool for the writer and a primary focus in literary criticism.

Certainly, William Blake or Thomas Campion , when they were writing their simple lyrics, were unaware of the ambiguities and multiple meanings that future critics would find in them.

Nevertheless, language is complex. Words do have overtones; they do stir up complicated reverberations in the mind that are ignored in their dictionary definitions.

Great stylists, and most especially great poets, work with at least a half-conscious, or subliminal, awareness of the infinite potentialities of language.

This is one reason why the essence of most poetry and great prose is so resistant to translation quite apart from the radically different sound patterns that are created in other-language versions.

The translator must project himself into the mind of the original author; he must transport himself into an entirely different world of relationships between sounds and meanings, and at the same time he must establish an equivalence between one infinitely complex system and another.

Since no two languages are truly equivalent in anything except the simplest terms, this is a most difficult accomplishment. Certain writers are exceptionally difficult to translate.

There are no satisfactory English versions, for example, of the Latin of Catullus , the French of Baudelaire , the Russian of Pushkin , or of the majority of Persian and Arabic poetry.

On the other hand, the Germans insist that Shakespeare is better in German than he is in English, a humorous exaggeration perhaps.

But again, Shakespeare is resistant to translation into French. His English seems to lack equivalents in that language. The very greatest translations may become classics in their own right, of enduring literary excellence the King James Version of the Bible , appearing in , is an outstanding example , but on the whole the approximate equivalence of most translations to their originals seems to have a very short life.

The original work remains the same, of lasting value to its own people, but the translation becomes out of date with each succeeding generation as the language and criteria of literary taste change.

Nothing demonstrates the complexity of literary language more vividly. Yet the values of great literature are more fundamental than complexity and subtleties of meaning arising from language alone.

Works far removed from contemporary man in time and in cultural background, composed in a variety of languages utterly different from one another in structure, have nevertheless been translated successfully enough to be deeply moving.

The 20th century witnessed an immense mass of the oral literature of preliterate peoples and of the writings of all the great civilizations translated into modern languages.

Translations of these literatures often distorted the original stories and, at best, captured only their essence. However, without these translations, such stories would most likely be forever lost.

The craft of literature, indeed, can be said to be in part the manipulation of a structure in time, and so the simplest element of marking time, rhythm , is therefore of basic importance in both poetry and prose.

Prosody, which is the science of versification, has for its subject the materials of poetry and is concerned almost entirely with the laws of metre , or rhythm in the narrowest sense.

It deals with the patterning of sound in time; the number, length, accent , and pitch of syllables; and the modifications of rhythm by vowels and consonants.

In most poetry, certain basic rhythms are repeated with modifications that is to say, the poem rhymes or scans or both but not in all.

Since lyric poetry is either the actual text of song or else is immediately derived from song, it is regular in structure nearly everywhere in the world, although the elements of patterning that go into producing its rhythm may vary.

The most important of these elements in English poetry, for example, have been accent, grouping of syllables called feet , number of syllables in the line, and rhyme at the end of a line and sometimes within it.

Other elements such as pitch, resonance , repetition of vowels assonance , repetition of consonants alliteration , and breath pauses cadence have also been of great importance in distinguishing successful poetry from doggerel verse, but on the whole they are not as important as the former, and poets have not always been fully conscious of their use of them.

The rhythms of prose are more complicated, though not necessarily more complex, than those of poetry. The rules of prose patterning are less fixed; patterns evolve and shift indefinitely and are seldom repeated except for special emphasis.

So the analysis of prose rhythm is more difficult to make than, at least, the superficial analysis of poetry. The craft of writing involves more than mere rules of prosody.

First, the literary situation has to be established. The reader must be directly related to the work, placed in it—given enough information on who, what, when, or why—so that his attention is caught and held or, on the other hand, he must be deliberately mystified, to the same end.

Aristotle gave a formula for dramatic structure that can be generalized to apply to most literature: Nevertheless, the scheme does provide a norm from which there is infinite variation.

Neoclassical dramatists and critics, especially in 17th-century France, derived from Aristotle what they called the unities of time, action, and place.

This meant that the action of a play should not spread beyond the events of one day and, best of all, should be confined within the actual time of performance.

Nor should the action move about too much from place to place—best only to go from indoors to outdoors and back. There should be only one plot line, which might be relieved by a subplot, usually comic.

These three unities—of time, place, and action—do not occur in Aristotle and are certainly not observed in Classical Greek tragedy.

They are an invention of Renaissance critics, some of whom went even further, insisting also on what might be called a unity of mood.

Great early novels such as the Chinese Dream of the Red Chamber ; first published in English and the Japanese Tale of Genji early 11th century usually develop organically rather than according to geometrical formulas, one incident or image spinning off another.

The 19th century was the golden age of the novel , and most of the more famous examples of the form were systematically plotted, even where the plot structure simply traced the growth in personality of an individual hero or heroine.

The latter 19th and early 20th centuries witnessed an attack on old forms, but what the new writers evolved was simply a new architecture.

Novelists such as Joseph Conrad , Ford Madox Ford , Virginia Woolf , and, in his later period, Henry James developed a multiple-aspect narrative, sometimes by using time shifts and flashbacks and by writing from different points of view, sometimes by using the device dating back to Classical Greek romances of having one or more narrators as characters within the story.

This technique, which was first perfected in the verse novels of Robert Browning , in fact reached its most extreme development in the English language in poetry: The content of literature is as limitless as the desire of human beings to communicate with one another.

The thousands of years, perhaps hundreds of thousands, since the human species first developed speech have seen built up the almost infinite systems of relationships called languages.

A language is not just a collection of words in an unabridged dictionary but the individual and social possession of living human beings, an inexhaustible system of equivalents, of sounds to objects and to one another.

Its most primitive elements are those words that express direct experiences of objective reality, and its most sophisticated are concepts on a high level of abstraction.

Words are not only equivalent to things, they have varying degrees of equivalence to one another. Eventually a language comes to be, among other things, a huge sea of implicit metaphors , an endless web of interrelated symbols.

As literature, especially poetry, grows more and more sophisticated, it begins to manipulate this field of suspended metaphors as a material in itself, often as an end in itself.

Thus, there emerge forms of poetry and prose, too with endless ramifications of reference, as in Japanese waka and haiku, some ancient Irish and Norse verse, and much of the poetry written in western Europe since the time of Baudelaire that is called modernist.

By the time literature appears in the development of a culture , the society has already come to share a whole system of stereotypes and archetypes: Literature may use such symbols directly, but all great works of literary art are, as it were, original and unique myths.

The subject matter of literature is as wide as human experience itself. Myths, legends , and folktales lie at the beginning of literature, and their plots, situations, and allegorical metaphorical narrative judgments of life represent a constant source of literary inspiration that never fails.

This is so because mankind is constant—people share a common physiology. Even social structures, after the development of cities, remain much alike.

Whole civilizations have a life pattern that repeats itself through history. Egyptian scribes, Japanese bureaucrats , and junior executives in New York City live and respond to life in the same ways; the lives of farmers or miners or hunters vary only within narrow limits.

Love is love and death is death, for a southern African hunter-gatherer and a French Surrealist alike. So the themes of literature have at once an infinite variety and an abiding constancy.

They can be taken from myth , from history, or from contemporary occurrence, or they can be pure invention but even if they are invented, they are nonetheless constructed from the constant materials of real experience, no matter how fantastic the invention.

As time goes on, literature tends to concern itself more and more with the interior meanings of its narrative, with problems of human personality and human relationships.

This can be presented explicitly, where the characters talk about what is going on in their heads, either ambiguously and with reserve, as in the novels of Henry James, or overtly, as in those of Dostoyevsky.

Literature, however, is not solely concerned with the concrete, with objective reality, with individual psychology , or with subjective emotion.

Some deal with abstract ideas or philosophical conceptions. Much purely abstract writing is considered literature only in the widest sense of the term, and the philosophical works that are ranked as great literature are usually presented with more or less of a sensuous garment.

In short, most philosophical works that rank as great literature do so because they are intensely human.

Sometimes the pretense of purely abstract intellectual rigour is in fact a literary device. Throughout literary history, many great critics have pointed out that it is artificial to make a distinction between form and content, except for purposes of analytical discussion.

The issue is, indeed, usually only raised at all by those critics who are more interested in politics, religion, or ideology than in literature; thus, they object to writers who they feel sacrifice ideological orthodoxy for formal perfection, message for style.

But style cannot really be said to exist on paper at all; it is the way the mind of the author expresses itself in words. Since words represent ideas, there cannot be abstract literature unless a collection of nonsense syllables can be admitted as literature.

Even the most avant-garde writers associated with the Cubist or nonobjective painters used language, and language is meaning , though the meaning may be incomprehensible.

At the other extreme, the style of the early 20th-century American novelist Theodore Dreiser —bumbling, clumsy, dogged, troubled—perfectly embodies his own attitudes toward life and is, in fact, his constant judgment of his subject matter.

Sometimes an author, under the impression that he is simply polishing his style, may completely alter his content. As Flaubert worked over the drafts of Madame Bovary , seeking always the apposite word that would precisely convey his meaning, he lifted his novel from a level of sentimental romance to make it one of the great ironic tragedies of literature.

Yet, to judge from his correspondence, he seems never to have been completely aware of what he had done, of the severity of his own irony.

Literature may be an art, but writing is a craft, and a craft must be learned. Talent, special ability in the arts, may appear at an early age; the special personality called genius may indeed be born, not made.

But skill in matching intention and expression comes with practice. They wrote spontaneously whatever came into their heads; but they wrote constantly, voluminously, and were, by their own standards, skilled practitioners.

There are certain forms of literature that do not permit such highly personal behaviour—for instance, formal lyric poetry and classic drama.

These structures are, however, quite simple and so cannot be said to determine the content. Yet their plays, and the poetry in which they are written, differ completely.

Corneille is intellectually and emotionally a Neoclassicist—clear and hard, a true objectivist, sure of both his verse and the motivations of his characters.

Racine was a great romantic long before the age of Romanticism. His characters are confused and tortured; his verse throbs like the heartbeats of his desperate heroines.

He is a great sentimentalist in the best and deepest meaning of that word. Verse on any subject matter can of course be written purely according to formula.

The 18th century in England saw all sorts of prose treatises cast in rhyme and metre, but this was simply applied patterning.

Works such as The Botanic Garden [2 vol. Neoclassicism , especially in its 18th-century developments, confused—for ordinary minds, at any rate—formula with form and so led to the revolt called Romanticism.

A similar revolution in taste was taking place all over Europe and also in China where the narrow pursuit of formula had almost destroyed poetry. Each had his own personal form.

Time passes and the pendulum of taste swings. All form in literature is expressive.



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