Approaches to Literature week 3

Motifs
In narrative, a motif is any recurring element that has symbolic significance in a story. Through its repetition, a motif can help produce other narrative (or literary) aspects such as theme or mood.

A narrative motif can be created through the use of imagery, structural components, language, and other narrative elements. The flute in Arthur Miller's play Death of a Salesman is a recurrent sound motif that conveys rural and idyllic notions. Another example from modern American literature is the green light found in the novel The Great Gatsby by F. Scott Fitzgerald.

Mimesis

Mimesis is a critical and philosophical term that carries a wide range of meanings, which include imitation, representation, mimicry, imitatio, receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self.

In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since.

Catharsis

Catharsis is the purification and purgation of emotions—especially pity and fear—through art or any extreme change in emotion that results in renewal and restoration. It is a metaphor originally used by Aristotle in the Poetics, comparing the effects of tragedy on the mind of a spectator to the effect of a cathartic on the body.

Plagiarism

Plagiarism is the "wrongful appropriation" and "stealing and publication" of another author's "language, thoughts, ideas, or expressions" and the representation of them as one's own original work.

Plagiarism is considered academic dishonesty and a breach of journalistic ethics. It is subject to sanctions like penalties, suspension, and even expulsion. Recently, cases of 'extreme plagiarism' have been identified in academia. The modern concept of plagiarism as immoral and originality as an ideal emerged in Europe in the 18th century, particularly with the Romantic movement.

Raymond Carver

Raymond Clevie Carver, Jr. (May 25, 1938 – August 2, 1988) was an American short-story writer and poet. Carver contributed to the revitalization of the American short story in literature during the 1980s

u  Literary characteristics

Carver's career was dedicated to short stories and poetry. He described himself as "inclined toward brevity and intensity" and "hooked on writing short stories" (in the foreword of Where I'm Calling From, a collection published in 1988 and a recipient of an honorable mention in the 2006 New York Times article citing the best works of fiction of the previous 25 years). Another stated reason for his brevity was "that the story or poem can be written and read in one sitting." This was not simply a preference but, particularly at the beginning of his career, a practical consideration as he juggled writing with work. His subject matter was often focused on blue-collar experience, and was clearly reflective of his own life.

Approaches to Literature week 2

Genre

A genre is any form or type of communication in any mode (written, spoken, digital, artistic, etc.) with socially-agreed upon conventions developed over time. Genre is most popularly known as a category of literature, music, or other forms of art or entertainment, whether written or spoken, audio or visual, based on some set of stylistic criteria, yet genres can be aesthetic, rhetorical, communicative, or functional. Genres form by conventions that change over time as new genres are invented and the use of old ones is discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions. Stand alone texts, works, or pieces of communication may have individual styles, but genres are amalgams of these texts based on agreed upon or socially inferred conventions. Some genres may be rigid with strictly adhered to guidelines while others may be very flexible.

Genre began as an absolute classification system for ancient Greek literature. Poetry, prose, and performance each had a specific and calculated style that related to the theme of the story. Speech patterns for comedy would not be appropriate for tragedy, and even actors were restricted to their genre under the assumption that a type of person could tell one type of story best. In later periods genres proliferated and developed in response to changes in audiences and creators. Genre became a dynamic tool to help the public make sense out of unpredictable art. Because art is often a response to a social state, in that people write/paint/sing/dance about what they know about, the use of genre as a tool must be able to adapt to changing meanings.

Genre suffers from the same ills of any classification system. Genre is to be reassessed and scrutinized, and to weigh works on their unique merit. It has been suggested that genres resonate with people because of the familiarity, the shorthand communication, as well as the tendency of genres to shift with public mores and to reflect the zeitgeist. While the genre of storytelling has been relegated as lesser form of art because of the heavily borrowed nature of the conventions, admiration has grown. Proponents argue that the genius of an effective genre piece is in the variation, recombination, and evolution of the codes.