... the 1960s by French structuralist writers. Narratology's purpose, according to Gerard Genette, is to provide critical categories "a little trimmer than the traditional entities, such as 'the novel' or 'poetry'" (264). Using the methods of structural linguistics, it treats fictions not as instances of a historically ratified convention but rather as stories, narratives of events, which can be analyzed structurally ... it seems to arrange itself as a preparation or rehearsal for fulfilling biological death or significant narrative closure. This preparation involves a sequence of confrontat...

• Word Count: 7335
• Approx Pages: 29
• Grade Level: Undergraduate

... , and intention). We have symbolic discourse (scientific/poetic language) and evocative discourse. There is mysterious time of the evocator and the evocated in poetry. What is important in literature is how to evocate feelings. Richards has psychological concern about the text language. He is concerned how the readers ... the critics' task to talk about emotion. T. S. Eliot is a member of new criticism. He focuses attention on tradition. In his classicism poetry, he emphasizes universal, in contrast with romanticism which emphasizes the individual. He says that no text can have an indep...

• Word Count: 3510
• Approx Pages: 14
• Grade Level: Undergraduate

... history, theories of scientists in Biology, and many other subjects. Literature also makes up a unique reading styles because of the different literary terms and rhetorical devices that it possesses such as simile, metaphor, imagery and many more. I will attempt to explain the effects these elements ... with something different from what the word literally denotes. A metaphor is derived from a simile in that it equates different things without using connecting terms such as like or as. A symbol is an image with an indefinite range of reference beyond itself. Some symbols are conventiona...

• Word Count: 1599
• Approx Pages: 6
• Grade Level: Undergraduate

... is approached as rhetorical systems rather than statements of doctrine, it is, I think, significant as critical conceptions of the novel as those of a writer defining his genre in his own terms - dialogically, rhetorically, and artistically, as a novelist would. It is these rhetorical maneuvers, not the stated philosophy, that collectively constitute Lawrence's coherent critical vision of the novel as a genre ... the initial statement and deferring its meaning, becomes a crucial recurrent feature of his genre theory. Lawrence's critical style in "Why the Novel Matters" is, to use J. L. ...

• Word Count: 1195
• Approx Pages: 5
• Grade Level: Undergraduate

... to escape their stronghold over literature. Certain texts are indeed recognised subconsciously as belonging to a more respected class of literature than others. For example, the lofty status of the medieval poetry of Chaucer, of Shakespeare and Marlowe's renaissance plays, of Dickens and Hardy's austere Victorian novels might be among those cited by what society might consider a well read citizen. These works ... disseminating texts by their "goodness- . Texts become increasingly reproducible if they are popular with the readers who receive them. It is in the nature of literature to und...

• Word Count: 2215
• Approx Pages: 9
• Has Bibliography
• Grade Level: Undergraduate

... which, whatever their subject, and is 'notable for literary form or expression'. Here the criterion is either aesthetic worth alone or worth in combination with general intellectual distinction. Within lyric poetry, drama, and fiction, the greatest works are selected on aesthetic aesthetic grounds; other books are picked for their reputation or intellectual eminence together with aesthetic value of a rather narrow kind ... usually much briefer than that of poets, playwrights, and novelists, are rarely limited to their strictly aesthetic merits. In practice, we get automatic and unprofes...

• Word Count: 660
• Approx Pages: 3
• Grade Level: Undergraduate