H 1790 Literature: Fiction
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FICTIONAL NARRATIVE WRITING RUBRIC 4 3 2 1 1 Organization
FICTIONAL NARRATIVE WRITING RUBRIC 4 3 2 1 1 The plot is thoroughly Plot is adequately The plot is minimally The story lacks a developed Organization: developed. The story is developed. The story has developed. The story plot line. It is missing either a interesting and logically a clear beginning, middle does not have a clear beginning or an end. The organized: there is clear and end. The story is beginning, middle, and relationship between the exposition, rising action and arranged in logical order. end. The sequence of events is often confusing. climax. The story has a clear events is sometimes resolution or surprise confusing and may be ending. hard to follow. 2 The setting is clearly The setting is clearly The setting is identified The setting may be vague or Elements of Story: described through vivid identified with some but not clearly described. hard to identify. Setting sensory language. sensory language. It has minimal sensory language. 3 Major characters are well Major and minor Characters are minimally Main characters are lacking Elements of Story: developed through dialogue, characters are somewhat developed. They are development. They are Characters actions, and thoughts. Main developed through described rather than described rather than characters change or grow dialogue, actions, and established through established. They lack during the story. thoughts. Main dialogue, actions and individuality and do not change characters change or thoughts. They show little throughout the story. grow during the story. growth or change during the story. 4 All dialogue sounds realistic Most dialogue sounds Some dialogue sounds Dialogue may be nonexistent, Elements of Story: and advances the plot. -
Fiction As Research Practice: Short Stories, Novellas, and Novels
Alberta Journal of Educational Research, Vol. 62.1, Spring 2016, 130-133 Book Review Fiction as Research Practice: Short Stories, Novellas, and Novels Patricia Leavy Walnut, CA: Left Coast Press Inc., 2013 Reviewed by: Frances Kalu University of Calgary Fiction as Research Practice: Short Stories, Novellas, and Novels introduces the reader to fiction-based research. In the first section, Patricia Leavy explores the genre by explaining its background and possibilities and goes on to describe how to conduct and evaluate fiction-based research. In the second section of the book, she presents and evaluates examples of fiction-based research in different forms including short stories and excerpts from novellas and novels written by different authors. The third and final section explains how fiction and fiction-based research can be used in teaching. Leavy clearly differentiates the term fiction-based research from arts- based research in order to project the emergent field in a clear light of its own. Babbie (2001) explains that just as qualitative research practice emerged as a means of explaining phenomena that could not be captured by quantitative scientific research, social research attempts to study and understand everyday life experiences. Within social research, arts-based research tries to represent phenomena studied aesthetically through various forms of art (Barone & Eisner, 2012). As a form of arts-based research, Leavy describes fiction-based research as a great way to explore “topics that can be difficult to approach” through fiction (p. 20). Topics include the intricacies of interactions in everyday life, race relations, and socio-economic class and its effects on human life. -
Political Fiction Or Fiction About Politics. How to Operationalize a Fluid Genre in the Interwar Romanian Literature
ȘTEFAN FIRICĂ POLITICAL FICTION OR FICTION ABOUT POLITICS. HOW TO OPERATIONALIZE A FLUID GENRE IN THE INTERWAR ROMANIAN LITERATURE What’s in a Genre? A reader of contemporary genre theories is compelled to conclude that, one way or another, the idea of literary class has managed a narrow escape from obsolescence. Conceptual maximalism fell behind the pragmatic call to respond to a global cultural environment for which the task of grouping, structuring, organizing, labelling remains vital for a long list of reasons, of which marketing policies are not to be forgotten. The modern story of the field has seen many twists and turns. After some theories of genre evolutionism – derived more or less from Darwinism – consumed their heyday in the 1890s–1920s1, Bakhtin (1937) took a decisive step toward a “historical poetics”, before Wellek, Warren (1948), Northrop Frye (1957), and Käte Hamburger (1957), and, later on, Gérard Genette (1979), Alastair Fowler (1982), or Jean-Marie Schaeffer (1989) returned to self- styled mixtures of formalism and historicism2. The study which pushed forward the scholarship in the field was, surprisingly or not, a fierce deconstruction of the “madness of the genre”, perceived as a self- defeating theory and practice of classification, highly necessary and utterly impossible at the same time. In his usual paradoxical manner, Derrida (1980) construes the relationship between the individual work and its set as one of 1 See, for instance: Ferdinand Brunetière, L’évolution des genres dans l’histoire de la littérature, Paris, Hachette, 1890–1892; Albert Thibaudet, Le liseur de romans, Paris, G. Crès et Cie, 1925; Viktor Shklovsky, O теории прозы [On the Theory of Prose], Москва, Издательств o “Федерация”, 1925. -
Great Historical Fiction Books at the Pleasanton Public Library
Dangerous Crossing by Stephen Krensky 1605 to 1750 1750 to 1830 Shelved in Children’s Moving Up Grades 2-5 Audiobook available Blood on the River: James Town 1607 Great Historical by Laurie Halse Anderson In 1778, ten-year-old Johnny Adams and his by Elisa Carbone Chains Grades 7-10 (320 p) Audiobook available father make a dangerous mid-winter voyage Grades 5-8 (237 p) from Massachusetts to Paris in hopes of Traveling to the New World in 1606 as the page to After being sold to a cruel couple in New York City, a slave named Isabel spies for the rebels during the gaining support for the colonies during the Fiction Books Captain John Smith, twelve-year-old orphan Samuel American Revolution. Collier settles in the new colony of James Town, where Revolutionary War. he must quickly learn to distinguish between friend and Hannah Pritchard: A Pirate of the Revolution at the foe. Fever, 1793 by Laurie Halse Anderson by Bonnie Pryor Grades 7-10 (251 p) Audiobook available Grades 5-7 (160 p) Historical Fiction Adventures series The Sacrifice by Kathleen B. Duble The year is 1793 and fourteen-year-old Matilda After her parents and brother are killed by Loyalists, Grades 6-9 (211 p) Cook finds herself in the middle of a struggle to fourteen-year-old Hannah leaves their farm and eventually, Pleasanton Two sisters, aged ten and twelve, are accused of keep herself and her loved ones alive in the midst disguised as a boy, joins a pirate ship that preys on other ships witchcraft in Andover, Massachusetts, in 1692 and await of the yellow fever epidemic. -
Utopia, Myth, and Narrative
Utopia, Myth, and Narrative Christopher YORKE (University of Glasgow) I: Introduction [I]n the 1920s and 1930s…Fascist theorists…adapting the language of Georges Sorel, grandiloquently proclaimed the superiority of their own creative myths as ‘dynamic realities,’ spontaneous utterances of authentic desires, over the utopias, which they dismissed as hollow rationalist constructs.1 - Frank and Fritzie Manuel We have created a myth, this myth is a belief, a noble enthusiasm; it does not need to be reality, it is a striving and a hope, belief and courage. Our myth is the nation, the great nation which we want to make into a concrete reality for ourselves.2 - Benito Mussolini, October 1922; from speech given before the ‘March on Rome’ One of the most historically recent and damaging blows to the reputation of utopianism came from its association with the totalitarian regimes of Hitler’s Third Reich and Mussolini’s Fascist party in World War II and the prewar era. Being an apologist for utopianism, it seemed to some, was tantamount to being an apologist for Nazism and all of its concomitant horrors. The fantasy principle of utopia was viewed as irretrievably bound up with the irrationalism of modern dictatorship. While these conclusions are somewhat understandable given the broad strokes that definitions of utopia are typically painted with, I will show in this paper that the link between the mythos of fascism and the constructs of utopianism results from an unfortunate conflation at the theoretical level. The irrationalism of any mass ethos and the rationalism of the thoughtful utopian planner are, indeed, completely at odds with each other. -
LITERATURE (LITR) This Course Studies the Form of the Short Story in the Literature of Great Britain, the United States, and Other Nations
2021-2022 Academic Catalog LITR4651 SHORT FICTION LITERATURE (LITR) This course studies the form of the short story in the literature of Great Britain, the United States, and other nations. Content is variable. Stories LITR1435 LITERATURE - 20TH CENTURY are studied as a reflection of craft, culture, and ideas. Prerequisite: An exploration of modern and contemporary fiction, in which students Completion of an English Sequence (4 credits) will investigate how 20th century authors treat such themes as personal and social conflict, isolation, globalization, hope, and despair. Prerequisite: ENGL1050 and ENGL2050 (3 credits) LITR3800 SPECIAL TOPICS IN LITERATURE Special topics in literature to be determined by the faculty assigned. These courses present topics that are not covered by existing courses and are likely to change from semester to semester. Refer to the semester schedule for the courses offered that semester. Contact the faculty assigned for more information about the course topic. Prerequisite: Completion of an English Sequence (4 credits) LITR4301 POETRY WORKSHOP Students will study various forms of poetry, and, as a result, be able to write their own poems based on their understanding of poetry as an art form. Prerequisite: Completion of an English Sequence (4 credits) LITR4351 CONTEMPORARY LITERATURE Readings in poetry, fiction, and drama of the Post-World War II period. This course examines American literature and cultural history from 1945 to the present. The work of major writers will be studied to gain insights into the life of our times. Prerequisite: Completion of an English Sequence (4 credits) LITR4401 20TH CENTURY LITERATURE Through the study of authors such as Remarque, Dostoevsky, Kafka, Sartre, and Hemingway, this course will assess the problems of alienation, isolation, and individual responsibility as they are confronted by modern man in the twentieth century. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
226 Jacques Ranciére the Politics of Literature. Cambridge
Philosophy in Review XXXIII (2013), no. 3 Jacques Ranciére The Politics of Literature. Cambridge: Polity Press 2011. 224 pages $69.95 (cloth ISBN 978–0–7456–4530–8); $24.95 (paper ISBN 978–0– 7456–4531–5) The Brothers Karamazov is not only a superb novel but contains theological and philosophical material which arouses (holy) envy even in the most charitable theologian and philosopher. As a title, Jacques Ranciére’s The Politics of Literature can espouse a similar type of envy. While one should not judge a book by its cover (or title), it was those four words that drew me to the work and the opportunity to review it. Unlike the Jewish people who were said to accept the Torah before God even articulated its parameters (“we will do and we will obey”), I should have inquired and investigated more first before doing anything. Ranciére’s work is a collection of ten nebulously linked, previously published essays translated from the French by Julie Rose (the French collection was published in 2006). The title of the book is also the title of its first chapter. The essay (and book) opens: “The politics of literature is not the same thing as the politics of writers. It does not concern the personal engagements of writers in the social or political struggles of their times. Neither does it concern the way writers represent social structures, political movements or various identities in their books” (3). Sadly, it was precisely in hope of further examining those elements that attracted me to the work. As I am a theologian espousing postcolonial, liberation, and feminist approaches to texts, drawing upon my literary background and developing work in ethics and politics, I can only be candid in acknowledging that it was a rocky beginning for this reviewer, to say the least. -
Politics in Fictional Entertainment: an Empirical Classification of Movies and TV Series
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OPUS Augsburg International Journal of Communication 9(2015), 1563–1587 1932–8036/20150005 Politics in Fictional Entertainment: An Empirical Classification of Movies and TV Series CHRISTIANE EILDERS CORDULA NITSCH University of Duesseldorf, Germany This article presents conceptual considerations on the classification of TV series and movies according to their political references and introduces an empirical approach for measuring the constituent features. We argue that political representations in fiction vary along two dimensions: political intensity and degree of realism. These dimensions encompass four indicators relating to characters, places, themes, and time. The indicators were coded for a sample of 98 TV series and 114 movies. Cluster analyses showed four clusters of TV series and six clusters of movies. Nonpolitical fiction, thrillers, and fantasy were central types in both TV series and movies. Movies, however, stand out through a greater diversity and a focus on the past that is reflected in three additional types. Based on the identification of different types of movies and TV series, three directions for theory building are suggested. Keywords: fictional entertainment, TV series, movies, classification, political intensity, degree of realism As the lines between information and entertainment become increasingly blurred, scholarly attention is not only directed to entertainment features in information programs but extends to information in entertainment programs. The latter especially regards the pictures of reality that are constructed in the respective programs. Attention is directed to both the identification of such pictures and the assessment of their possible effects. -
Novel Novella: the Difference Between Novel and Novella
Novel A novel is a long narrative in prose that describes fictional characters and events. It is the longest genre of narrative prose fiction in modern literature. A novel generally contains more than 200 pages (above 40,000 words) The term novel is derived from the Italian word novella meaning ‘new’. Novel has a long history and examples for novels can be observed in many countries including Classical Greece and Rome, 10th– and 11th-century Japan, Elizabethan English etc. However. Miguel de Cervantes, author of Don Quixote, is often referred to as the first significant novelist of the modern era. Novels can be categorized in to different genres such as supernatural, thriller, fantasy, romance, western, paranormal, adventure, etc. Novella: The novella is short and well-structured narrative, often realistic and satiric in tone, that influenced the development of the short story and the novel throughout Europe. Originating in Italy during the Middle Ages, the novella was based on local events that were humorous, political, or amorous in nature; the individual tales often were gathered into collections along with anecdotes, legends, and romantictales. Novellas contain fewer characters, themes and conflicts than a novel. It generally does not contain chapters and is meant to be read in one sitting. Some prominent examples of novellas in literature include Saint-Exupery’s “The Little Prince”, H. G. Wells’ “The Time Machine”, John Steinbeck’s “Of Mice and Men”, Charles Dickens’ “A Christmas Carol” and Ernest Hemingway’s “The Old Man and the Sea”. Geoffrey Chaucer introduced the novella to England with The Canterbury Tales. -
Philosophy and the Future of Fiction
Syracuse Scholar (1979-1991) Volume 1 Issue 2 Syracuse Scholar Fall 1980 Article 3 1980 Philosophy and the Future of Fiction William Gass Follow this and additional works at: https://surface.syr.edu/suscholar Recommended Citation Gass, William (1980) "Philosophy and the Future of Fiction," Syracuse Scholar (1979-1991): Vol. 1 : Iss. 2 , Article 3. Available at: https://surface.syr.edu/suscholar/vol1/iss2/3 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in Syracuse Scholar (1979-1991) by an authorized editor of SURFACE. For more information, please contact [email protected]. Gass: Philosophy and the Future of Fiction Philosophy and the Future of Fiction William Gass "Philosophy and the Future of Fiction" I would like to talk about philosophy and the development of was the first lecture of the annual the novel and to say something about the direction in which I University Lecture Series at Syracuse University. It was presented by William think the novel will go as it becomes increasingly self-conscious Gass at Grant Auditorium on October and an object of interest to philosophers. These are extra 25, 1979. The present version has been somewhat modified for purposes of ordinary changes for the novel. When I was in graduate school, publication in Syracuse Scholar. philosophers only read Dostoevski, and indeed only read The William Gass received his Ph.D. in Brothers Karamazov, and indeed only read about Ivan. They philosophy from Cornell University and did this to furnish very trivial and commonplace philosophical is now the David May Distinguished University Professor in the Humanities examples. -
The Non-Fiction Novel
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of New Mexico New Mexico Quarterly Volume 37 | Issue 3 Article 12 1967 The on-ficN tion Novel William Wiegand Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Wiegand, William. "The on-fictN ion Novel." New Mexico Quarterly 37, 3 (1967). https://digitalrepository.unm.edu/nmq/vol37/iss3/ 12 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. Wiegand: The Non-fiction Novel 243 The HNon-fiction" Novel " BY WILLIAM WIEGAND ~ I In Cold Blood By THE TIME Truman Capote's book, In Cold Blood, gets waxed into paperback and moving pictures ("the crime that shocked a million readers by the author of Breakfast at Tiffany's"), what remains of the integrity of the original work will probably be forgotten. Also for gotten may be Capote's notion that he had created something new in writing this book. In Cold Blood was not like a "documentary novel," or a "historical novel," Capote said. Least of all did it need -a crime to make it work; its nature could only be described as a "non fiction novel." A "non-fiction novel" was a term the purists were not ready for, but rather than disturb the sleeping issue of the difference between literature and journalism which Hemingway had pretty well settled for this generation, Capote's claim was left as simple vanity.