and elements that create every genre and it is necessary to know how these genres work in every social situations. As a general view , this is what genre researchers call as Genre Awareness, to be conscious about all the context and elements involved in a genre
3. Significance of the Problem This project has various reasons to justify itself as an original research that can bring new light to the significant subject of comparative literature. Iranian scholars have already exhausted different aspects of the life and works of Sa‘di and encyclopedic publications have been devoted to him. In a similar vein, Alexander Pope has been the subject of innumerous studies with different approaches; however, it is for the first time that a student well acquainted with
influence on Lovecraft 3. Method 3.1 How was the data collected 3.2 How was the data analysed 4. Results and analysis 4.1 Analysis 4.2 Results 5. Conclusion 6. References 7. Appendices 1. INTRODUCTION Horror stories have always been popular throughout our history. Perhaps it is the morbidity or just perhaps that we humans like to experience evil at least in fiction. “The genre of horror fiction can also be said to harbour an increasing amount of popular material which thrives on cloche
and meaning of genre. Literary generic categories, as we understand them in the United States, have existed since the nineteen thirties, although dedicated scholarly attention began only in the nineteen seventies. Frederic Jameson’s article Magical Narratives: Romance as Genre argued that ‘genres are essentially contracts between a writer and his readers; or rather … they are literary institutions … like other agreements or contacts’. This declaration of the nature of literary genre was an addition
what is significant – books. Not only textbooks on history, but literature itself represents history through words and pages. Sometimes this narrow of the concept is enhanced creating a strong stereotype of history. However, there are books that demolish this veil of abstraction around history and suggest a new and altered idea of it. For example, War and Peace by Leo Tolstoy or 11.22.63 by Stephen King had a massive effect on literature and people’s perception of history. Though there is one special
A study on the recurring elements and sub-genres of science fiction literature Introduction Science Fiction is a literary genre that deals with imaginative writing and incorporates elements that originate from science or scientific rudiments. It belongs to the category of speculative fiction and usually explores the impact of science and technology on the society. Science fiction has been a major literary genre consisting of various sub-genres and themes within it. A complete and inclusive definition
1. Introduction Detective fiction is a relatively young genre of literature: “The idea that crime, particularly murder, provided entertainment was only born in the first decades of the nineteenth century, but it would bloom into one of the greatest mass-media interests of all time” (Worsley 17, italics in the original). In spite of its youthfulness, this genre has already developed its own rules and regulations/conventions, as well as established its own canon. Sir Arthur Conan Doyle’s detective
at times the author is not a follower of the rigid rules of literature. Through this, the play becomes not just either a comedy or a tragedy but is also both. Wallace continues on to hint that Shakespeare might as well be the playwright that Socrates is referring to when he described the necessity of a writer's works to be both comedic and tragic. However, it is important to note that even amidst an existing dichotomy between both genres, there was a massive re-writing of the ending of Shakespeare
The concepts of text and work have been continuously distorted over the course of time. Both terms have been misinterpreted in a way that text has been replaced by work in common usage and social reforms. In reality, the two share more differences than similarities, which French literary critic and linguist Roland Gérard Barthes explains in his essay From Work to Text, from his book entitled Image-Music-Text. Barthes justifies the differences through propositions, in which he claims as ‘enunciations’
David Russell in Literature for Children: A Short Introduction (1946) makes an interesting point when he traces the origin of children’s literature to that of literature itself. He assumes that since all literature began orally, children’s literature too began its journey in the rudimentary beginnings of literature itself. His assumption is that all Greek and Roman children would have known Homer, Virgil or Ovid and this proves children’s enjoyment of adventures and fantasies. The middle Ages saw