Unit-1 the SHORT STORY: AS a MINOR FORM of LITERATURE DEVELOPMENT, ELEMENTS and CHARACTERISTICS

Total Page:16

File Type:pdf, Size:1020Kb

Unit-1 the SHORT STORY: AS a MINOR FORM of LITERATURE DEVELOPMENT, ELEMENTS and CHARACTERISTICS Unit-1 THE SHORT STORY: AS A MINOR FORM OF LITERATURE DEVELOPMENT, ELEMENTS AND CHARACTERISTICS Contents 1.0 Objectives 1.1 Introduction 1.2 Presentation of Subject Matter 1.2.1 Development, Elements and Characteristics 1.3 Summary 1.4 Terms to Remember 1.5 Answers to check your progress 1.6 Exercises and their Answers 1.7 Books for Further Reading 1.0 Objectives: After learning this unit you will be able to: G Understand the meaning and origin of the short story G Know the development of the short story G Learn the elements and characteristics of the short story. 1.1 Introduction: The desire to listen to stories is deeply rooted in human civilization world over. Man, being the social animal, is always interested in other man’s life. This feature of man’s mind might have created the art of story-telling. Short stories date back to oral story-telling traditions which originally produced epics such as Homer’s Iliad and Odyssey . Oral narratives were often told in the form of rhyming or rhythmic verse, often including recurring sections. Such device helped 1 to recall the stories easily. Short sections of verse might focus on individual narratives that could be told at one sitting. The origin of short story can be traced back to the oral story-telling tradition. Perhaps the oldest form of the short story is the anecdote which was popular in the Roman Empire. At the time, the anecdotes functioned as a kind of parables in the Roman Empire. Anecdote is a brief realistic narrative that embodies a point. The anecdotes remained popular in Europe well into the 18th century, when the fictional anecdotal letters of Sir Roger de Coverley were published. The another form close to the short story is the fable. Fables, concise tales with an explicit moral were, said by the Greek historian, Herodotus to have been invented in the 6th century BCE by a Greek slave named Aesop, though other times and nationalities have also been given for him. These ancient fables are today known as Aesop’s fables. In essence, the short story is a literary genre which presents a single significant event or a scene involving a limited number of characters. Short stories have no set length. In terms of word count there is no official boundary between an anecdote, a short story, and a novel. Rather, the form’s limits are given by the rhetorical and practical context in which a given story is produced and considered, so that what constitutes a short story may differ between genres, countries, eras, and commentators. The short story has been considered both an apprenticeship from preceding more lengthy works, and a crafted form in its own right, collected together in books of similar length, price, and distribution as novels. Definition of Short Story Deciding what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to read it in one sitting, the point most notably made in Edgar Allan Poe’s essay “Thomas Le Moineau (Le Moile)” (1846). Interpreting this standard nowadays is problematic, since the expected length of “One sitting” may now be briefer than it was in Poe’s era. Other definitions place the maximum word count of the short story at anywhere from 1,000 to 9,000 words. For example, Harris King’s “A Solitary Man” is around 4,000 words. In contemporary usage, the term short story, most often, refers to a work of fiction no longer than 20,000 words and no shorter than 1,000 words or 5 to 2 20 pages. Stories of fewer than 1,000 words are sometimes referred to as “short short stories” or “flash fiction”. As a point of reference for the science fiction genre writer, the Science Fiction and Fantasy Writers of America define short story length for Nebula Awards for science fiction submission guidelines as having a word count of fewer than 7,500. Longer stories that cannot be called novels are sometimes considered “novellas”, and, like short stories, may be collected into the more marketable form of “collections”, often containing previously unpublished stories. For example, after Shirley Jackson died, a crate of unpublished short stories was discovered in her barn and collected into a short story collection in her memory. Sometimes, authors who do not have the time or money to write a novella or novel decide to write short stories instead, working out a deal with a popular website or magazine to publish them for profit. It is reasonable to say that a firm definition of a short story is impossible. No simple theory can encompass the diverse nature of a genre in which the only constant feature seems to be the achievement of a narrative purpose in a comparatively brief space. Each definition emphasizes some aspects and cannot cover all. However, to get some idea about the form, we can highlight some definitions: 1. “A fictional prose tale of no specified length, but too short to be published as a volume on its own, as novellas sometimes and novels unusually are. A short story will normally concentrate on a single event with only one or two characters, more economically than a novel’s sustained exploration of social background”. Chris Baldick: The Concise Oxford Dictionary of Literary Terms . 2. “A short story is a brief work of prose fiction, and most of the terms for analyzing the component elements, the types, and the narrative techniques of the novel are applicable to the short story as well.” M. H. Abrams, Geoffrey Galt Harpham: A Handbook of Literary Terms. 3. A prose narrative “requiring from half an hour to one or two hours in its perusal.” Edgar Allan Poe: Review of Nathaniel Hawthorne’s Twice Told Tales. 3 1.2 Presentation of Subject Matter The desire to listen to stories is deeply rooted in human civilization world over. Man, being the social animal, is always interested in other men’s lives. This aspect of man’s psyche might have created the art of story-telling. Short stories date back to oral story-telling traditions which originally produced epics such as Homer’s Iliad and Odyssey . Oral narratives were often told in the form of rhyming or rhythmic verse, often composed of recurring sections. Such devices helped to recall the stories easily. Short sections of verse might focus on individual narratives that could be told at one sitting. The origin of short story can be traced back to the oral story-telling tradition. Perhaps the oldest form of short story is the anecdote, which was popular in the ancient Roman period. At the time, the anecdotes functioned as kind of parables. The anecdote is a brief realistic narrative that embodies a point. Anecdotes remained popular in Europe well into the 18th century, when the fictional anecdotal letters of Sir Roger de Coverley were published. Another form close to short story is fable. Fables, concise tales with an explicit moral were, said by the Greek historian, Herodotus to have been invented in the 6th century BCE by a Greek slave named Aesop, though other times and nationalities have also been given credit for him. These ancient fables are today known as Aesop’s fables. In essence, the short story is a literary genre which presents a single significant event or a scene involving a limited number of characters. Short stories have no set length. In terms of word count there is no official demarcation between an anecdote, a short story, and a novel. Rather, the form’s parameters are given by the rhetorical and practical context in which a given story is produced and considered, so that what constitutes a short story may differ between genres, countries, eras, and commentators. The short story has been considered both an apprenticeship from preceding more lengthy works, and a crafted form in its own right, collected together in books of similar length, price, and distribution as novels. 4 Definition of Short Story Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to read it in one sitting, the point most notably made in Edgar Allan Poe’s essay “Thomas Le Moineau (Le Moile)” (1846). Interpreting this standard nowadays is problematic, since the expected length of “One sitting” may now be briefer than it was in Poe’s era. Other definitions place the maximum word count of the short story at anywhere from 1,000 to 9,000 words. For example, Harris King’s “A Solitary Man” is around 4,000 words. In contemporary usage, the term short story, most often, refers to a work of fiction no longer than 20,000 words and no shorter than 1,000 words or 5 to 20 pagers. Stories of fewer than 1,000 words are sometimes referred to as “short short stories” or “flash fiction”. As a point of reference for the science fiction genre writer, the Science Fiction and Fantasy Writers of America define short story length for Nebula Awards for science fiction submission guidelines as having a word count of fewer than 7,500 words. Longer stories that cannot be called novels are sometimes considered “novellas”, and, like short stories, may be collected into the more marketable form of “collections”, often containing previously unpublished stories. After Shirley Jackson died, a crate of unpublished short stories was discovered in her barn and it was published as short story developed as a form in its own right.
Recommended publications
  • Fictional Tellers: a Radical Fictionalist Semantics for Fictional Discourse
    Organon F 28 (1) 2021: 76–106 ISSN 2585-7150 (online) https://doi.org/10.31577/orgf.2021.28105 ISSN 1335-0668 (print) RESEARCH ARTICLE Fictional Tellers A Radical Fictionalist Semantics for Fictional Discourse Stefano Predelli* Received: 4 February 2020 / Accepted: 4 May 2020 Abstract: This essay proposes a dissolution of the so-called ‘semantic problem of fictional names’ by arguing that fictional names are only fictionally proper names. The ensuing idea that fictional texts do not encode propositional content is accompanied by an explanation of the contentful effects of fiction grounded on the idea of impartation. Af- ter some preliminaries about (referring and empty) genuine proper names, this essay explains how a fiction’s content may be conveyed by virtue of the fictional impartations provided by a fictional teller. This idea is in turn developed with respect to homodiegetic narratives such as Doyle’s Holmes stories and to heterodiegetic narratives such as Jane Austen’s Emma. The last parts of the essay apply this appa- ratus to cases of so-called ‘talk about fiction’, as in our commentaries about those stories and that novel. Keywords: Fiction; fictional names; narrative; proper names; seman- tics. * University of Nottingham https://orcid.org/0000-0002-8375-4611 Institute of Philosophy, Department of Philosophy. University of Nottingham Nottingham NG7 2RD, United Kingdom. [email protected] © The Author. Journal compilation © The Editorial Board, Organon F. This article is distributed under the terms of the Creative Commons Attri- bution-NonCommercial 4.0 International Public License (CC BY-NC 4.0). Fictional Tellers 77 0.
    [Show full text]
  • Irish Gothic Fiction
    THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland.
    [Show full text]
  • 10. Hum-The White Tiger a Sagacious Quest in Epistolary-Ms.DEBALINA
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN(E): 2321-8878; ISSN(P): 2347-4564 Vol. 3, Issue 7, Jul 2015, 53-58 © Impact Journals THE WHITE TIGER: A SAGACIOUS QUEST IN EPISTOLARY TRADITION DEBALINA SENGUPTA Research Scholar, Department of English & Culture Studies, The University of Burdwan, Burdwan, West Bengal, India ABSTRACT Epistolary novel is a fictional genre written in the form of letters or documents, integrating higher realism to create absolute absorption of the audience. The term is derived from the Greek word “ epistol ē” (a letter) and under its veil it often impersonates the society to create a larger-life effect among the audience. Our present text of discussion, the Booker winning debut novel of Aravind Adiga, The White Tiger, surprisingly has been written in this practice, incorporates letters from Balaram Halwai to Wen Jiabao, describing his journey from a rooster-coop to a successful entrepreneur. This fiction unfolds slowly how a Halwai resists the oppression of the master class people and ultimately is able to create a distinct identity irrespective of class, caste, creed and societal taboos after committing a violent murder of his employer. Murder is always an act of violence, we are never granted to take the life of others, however criminal he may be. But in the case of Balaram, this violent act of execution produces a cathartic effect. He wins over all the societal obstruction as well as family ties through this purgatorial crime. KEYWORDS: Catharsis, Epistolary, Journey, Murder, Oppression, Quest Etc INTRODUCTION The White Tiger, a realistic masterpiece in epistolary genre by Aravind Adiga, won the covetous 40 th Man- Booker Prize in 2008.
    [Show full text]
  • The Epistolary French Novel Between History and Literature
    American Research Journal of English and Literature ISSN-2378-9026 Volume 3, Issue 1, 1- 7 Pages DOI:10.21694/2378-9026.17016 Research Article Open Access The Epistolary French Novel between History and Literature Luisa Messina University of Palermo [email protected] Abstract: The eighteenth century is considered as the golden age of epistolary art. If we analyse the historical and social value of letters, we notice that epistolary exchange soon becomes one of the principal ways of communication and of providing information. One of the most important qualities of the epistolary novel is its ability to effectively convey emotion. The epistolary novel removes the temporal distance between personal history and its written form. The most famous writers of the time (such as Montesquieu) and libertine writers social(Laclos importance and Sade in due particular) to the power employed of letter the toepistolary act as a vehicle novel in for different information. ways. ThisSo eighteenth-century emerges as one of literaturethe main reasonsis characterised for the rise by thein popularity successful of epistolary the epistolary novel. novel. Since the Modern Age letter has held great historical and Keyword: The Epistolary Novel in the Eighteenth Century novel, letter, modern Age, Eighteenth-century, France. Thanks to progress in learning and in postal organization, the letter becomes an important medium for communicating information and can be viewed as a precursor to the modern gazette. So the evolution of the epistolary form facilitates news circulation concerning politics, literature, family and society: it’s the main way a letter to enliven an ordinary life.
    [Show full text]
  • Get Ebooks Erotica Stories: Historical Erotic Romance Novels
    Get Ebooks Erotica Stories: Historical Erotic Romance Novels - Adult Love Story Collection Of Victorian Romance, Regency Romance, Adult Romance, Highlander Romance, Viking History Romance, XXX, Novels For Women '..She knew what she wanted as she traced her nails across his neck and his hand went around her waist. He pulled her in his lap and gently kissed her. His hand tracing down her neck and felt through her shirt. Noticing her nipples getting hard and her kisses becoming more persistent, he responded by lifting her up and taking her to the couch. He ripped off her shirt and exposed her chest...' This is a romantic short story collection Tags: Victorian, Victorian Romance, Regency Romance, Historical Romance, Regency, Viking, Highlander File Size: 3677 KB Print Length: 309 pages Simultaneous Device Usage: Unlimited Publication Date: August 31, 2016 Sold by: Digital Services LLC Language: English ASIN: B01LD7M49I Text-to-Speech: Enabled X-Ray: Not Enabled Word Wise: Enabled Lending: Enabled Enhanced Typesetting: Enabled Best Sellers Rank: #152,803 Paid in Kindle Store (See Top 100 Paid in Kindle Store) #69 in Books > Literature & Fiction > Erotica > Poetry #188 in Kindle Store > Kindle eBooks > Literature & Fiction > Erotica > Victorian #199 in Books > Literature & Fiction > Erotica > Victorian Erotica Stories: Historical Erotic Romance Novels - Adult Love Story Collection of Victorian Romance, Regency Romance, Adult Romance, Highlander Romance, Viking History Romance, XXX, Novels for Women Erotica: Virgin Romance: Virgin Erotica
    [Show full text]
  • An Epistolary Novel Revisited: Alice Walker's Womanist Parody Of
    International Journal of Humanities and Social Science Vol. 6, No. 4; April 2016 An Epistolary Novel Revisited: Alice Walker’s Womanist Parody of Richardson’s Clarissa Dina Muhammad El-Hindi German Jordanian University Amman, Jordan P.O. Box 35247 Amman, Jordan 11180 Abstract Samuel Richardson’s Clarissa and Alice Walker’s The Color Purple use the epistolary form to directly tap into the psychology of the characters without the intervention of society’s restrictions on voicing taboo events, feelings or thoughts. Richardson’s use of this ‘bourgeois’ novel portrayed the inhibited desires of lovers to each other or to their confidants. However, Walker’s novel is a womanist parody of Clarissa; she uses letter-writing to give voice to the double oppression of the African-American female and her personal and emotion emancipation. The comparison will highlight how both novels allowed females to find a ‘voice’. Although Richardson is a male author, his use of the genre allowed him to highlight women’s issues. Walker, on the other hand, does not give her protagonist a ‘voice’ symbolize her isolation, oppression as a female and oppression as an African-American. Key Words: womanist, other, epistolary voice, oppression, ècriture. 1. Introduction The epistolary novel, or novel in letters, was virtually unknown as a literary genre before Samuel Richardson's Pamela (1740) and Clarissa (1747-8), which came later, but is considered the greatest and most extended novel in the epistolary form. Letter-writing, in its eighteenth century form, was used because it "enables the author to present multiple points of view on the same event" (Holman and Harmon, 1992, p.
    [Show full text]
  • Death in Canada: a Short Story Collection
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2013 DEATH IN CANADA: A SHORT STORY COLLECTION Leanna Rose Wharram University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Fiction Commons Recommended Citation Wharram, Leanna Rose, "DEATH IN CANADA: A SHORT STORY COLLECTION. " Master's Thesis, University of Tennessee, 2013. https://trace.tennessee.edu/utk_gradthes/1697 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Leanna Rose Wharram entitled "DEATH IN CANADA: A SHORT STORY COLLECTION." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Michael Knight, Major Professor We have read this thesis and recommend its acceptance: Margaret L. Dean, Allen Wier Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) DEATH IN CANADA: A SHORT STORY COLLECTION A Thesis Presented for the Master of Arts Degree The University of Tennessee, Knoxville Leanna Rose Wharram May 2013 ii ABSTRACT Leanna Wharram’s Death in Canada explores themes of family, betrayal, friendship, love, and death in four short stories, set in various locations across Canada: “The Elephant Goddess,” “Paddleboat Drowning,” “The Dog Groomer,” and “Social Observation Study – Observer#A2651.” The collection also includes a critical introduction detailing the use of foreshadowing techniques and narrative perspective.
    [Show full text]
  • Addition to Summer Letter
    May 2020 Dear Student, You are enrolled in Advanced Placement English Literature and Composition for the coming school year. Bowling Green High School has offered this course since 1983. I thought that I would tell you a little bit about the course and what will be expected of you. Please share this letter with your parents or guardians. A.P. Literature and Composition is a year-long class that is taught on a college freshman level. This means that we will read college level texts—often from college anthologies—and we will deal with other materials generally taught in college. You should be advised that some of these texts are sophisticated and contain mature themes and/or advanced levels of difficulty. In this class we will concentrate on refining reading, writing, and critical analysis skills, as well as personal reactions to literature. A.P. Literature is not a survey course or a history of literature course so instead of studying English and world literature chronologically, we will be studying a mix of classic and contemporary pieces of fiction from all eras and from diverse cultures. This gives us an opportunity to develop more than a superficial understanding of literary works and their ideas. Writing is at the heart of this A.P. course, so you will write often in journals, in both personal and researched essays, and in creative responses. You will need to revise your writing. I have found that even good students—like you—need to refine, mature, and improve their writing skills. You will have to work diligently at revising major essays.
    [Show full text]
  • Epistolary Fictions by Women Writers in Spain (1986-2002)
    University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2013 LETTERS AS SELF-PORTRAITS: EPISTOLARY FICTIONS BY WOMEN WRITERS IN SPAIN (1986-2002) Lynn Y. Celdran University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Celdran, Lynn Y., "LETTERS AS SELF-PORTRAITS: EPISTOLARY FICTIONS BY WOMEN WRITERS IN SPAIN (1986-2002)" (2013). Theses and Dissertations--Hispanic Studies. 17. https://uknowledge.uky.edu/hisp_etds/17 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • Janet Gurkin Altman Approaches to a Form
    Janet Gurkin Altman Approaches to a Form EPISTOLARITY Approaches to a Form By Janet Gurkin Altman Though the letter's potential as an artistic form and a narrative vehicle has been recog­ nized by writers of nearly every nationality and period from Ovid, in the Epistulae Heroidum, to Saul Bellow, in Herzog, episto­ lary literature has only recently become the object of close and sustained critical scrutiny as a result of the revival of the letter form in contemporary fiction, and a growing recogni­ tion that the genre was not, in fact, abandoned following the period of its greatest popularity in the eighteenth century. This was the age that produced such classics as Montesquieu's Lettres persanes, Richardson's Pamela and Clarissa, Rousseau's La Nouvelle Héloïse, Smollett's Humphry Clinker, Goethe's Werth­ er, and Laclos's Les Liaisons dangereuses. Such well-known works, Professor Altman suggests, though they represent a wide di­ versity in style, plot, and characterization, re­ veal a surprising number of similar literary structures or intriguingly persistent patterns when read together with other examples of the epistolary genre. And these structures — re­ curring thematic relations, character types, narrative events and organization — can, in turn, be related to properties inherent in the letter itself. For in numerous instances, these basic formal and functional characteristics of the letter, far from being purely ornamental, significantly affect the way in which meaning is constructed, consciously and unconscious­ ly, by both writers and readers. The epistolary novel. Dr. Altman points out, was born in an age when novelists like Diderot and Sterne had moved beyond story­ telling to indulge in playful reflection upon history and fiction, and the means by which historical and fictional events are recounted.
    [Show full text]
  • Pulitzer Prize
    1946: no award given 1945: A Bell for Adano by John Hersey 1944: Journey in the Dark by Martin Flavin 1943: Dragon's Teeth by Upton Sinclair Pulitzer 1942: In This Our Life by Ellen Glasgow 1941: no award given 1940: The Grapes of Wrath by John Steinbeck 1939: The Yearling by Marjorie Kinnan Rawlings Prize-Winning 1938: The Late George Apley by John Phillips Marquand 1937: Gone with the Wind by Margaret Mitchell 1936: Honey in the Horn by Harold L. Davis Fiction 1935: Now in November by Josephine Winslow Johnson 1934: Lamb in His Bosom by Caroline Miller 1933: The Store by Thomas Sigismund Stribling 1932: The Good Earth by Pearl S. Buck 1931 : Years of Grace by Margaret Ayer Barnes 1930: Laughing Boy by Oliver La Farge 1929: Scarlet Sister Mary by Julia Peterkin 1928: The Bridge of San Luis Rey by Thornton Wilder 1927: Early Autumn by Louis Bromfield 1926: Arrowsmith by Sinclair Lewis (declined prize) 1925: So Big! by Edna Ferber 1924: The Able McLaughlins by Margaret Wilson 1923: One of Ours by Willa Cather 1922: Alice Adams by Booth Tarkington 1921: The Age of Innocence by Edith Wharton 1920: no award given 1919: The Magnificent Ambersons by Booth Tarkington 1918: His Family by Ernest Poole Deer Park Public Library 44 Lake Avenue Deer Park, NY 11729 (631) 586-3000 2012: no award given 1980: The Executioner's Song by Norman Mailer 2011: Visit from the Goon Squad by Jennifer Egan 1979: The Stories of John Cheever by John Cheever 2010: Tinkers by Paul Harding 1978: Elbow Room by James Alan McPherson 2009: Olive Kitteridge by Elizabeth Strout 1977: No award given 2008: The Brief Wondrous Life of Oscar Wao by Junot Diaz 1976: Humboldt's Gift by Saul Bellow 2007: The Road by Cormac McCarthy 1975: The Killer Angels by Michael Shaara 2006: March by Geraldine Brooks 1974: No award given 2005: Gilead by Marilynne Robinson 1973: The Optimist's Daughter by Eudora Welty 2004: The Known World by Edward P.
    [Show full text]
  • Download (478Kb)
    Interpreting real and fictional worlds in interaction: A socio-cognitive approach to reading group talk WHITELEY, Sara and PEPLOW, David <http://orcid.org/0000-0001-6535- 8095> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26183/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version WHITELEY, Sara and PEPLOW, David (2020). Interpreting real and fictional worlds in interaction: A socio-cognitive approach to reading group talk. Text & Talk. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Text&Talk 2020; aop Sara Whiteley* and David Peplow Interpreting real and fictional worlds in interaction: A socio-cognitive approach to reading group talk https://doi.org/10.1515/text-2020-2072 Abstract: This paper analyses how representations of real life and fictional worlds are combined and differentiated in the talk produced in literary reading groups. We adopt a socio-cognitive approach to reading group interaction, which combines discourse analysis and Text World Theory to examine the social and cognitive processes enacted in examples of such talk. Text World Theory is a cognitive linguistic discourse analysis framework which examines the mental spaces (“worlds”) cued by language-in-use and the ontological relations be- tween those worlds. This combined framework is applied to four extracts of reading group talk and facilitates the discussion of the structural, referential and representational aspects of the interaction. Our analysis considers the insights which reading group talk provides into the complex relationships between text and talk.
    [Show full text]