The Genre Analysis of Traditional and Modern Short Stories The traditional short story is a genre of a prose. It is a fiction work that presents a world in the moment of an unexpected change. The traditional short story obeys some rules, such as the unexpected change and major events with detail. The modern short story is a revolution which is based on the traditional short story. In other words, if the traditional short story is in the first floor, the modern short story is in the second floor. Therefore, the modern short story still obeys some rules that the traditional short story obeys, and breaks some rules that the traditional short story obeys. One rule that the modern short story still uses is the unexpected change. The rules broken by the modern short story are that the major events are not detailed, and that the border between the real world and the fiction world. This paper first talks about the unexcepted change and uses the examples of “Eveline” and “The Open Window.” Then, this paper talks about major events with detail, and uses the examples of “Lottery,” “The Open Window” and “Hills Like White Elephants.” Finally, this paper talks about the meta-literary and the border between the real world and the fiction …show more content…
In the modern short story, the author leaves the empty space to the major event. For instance, in “Hills Like White Elephants,” the operation which the two characters were talking about is much more important than the drinks that these two characters would drink. However, the drinks were paid more attention. The types of drinks, such as Anis del Toro, beer and others, were introduced. Also, the size of drinks and whether the drinks were with water or not, were mentioned. Whereas, the operation that the girl would have was not described in detail, and only one word “operation” was
In traditional writing styles, the main element to give the story meaning is the narrative itself. However, with more modern and distinct styles such as the short stories written where the narrative is no longer the primary stylistic device, but the use of metaphors and distinctive different narrators applies meaning to the stories. Though it is easy to judge what is different from tradition as inferior, this change is no different than the rise of cubism in the art world. Even though initially many would comment on the art not being “real,” or in this case, the stories being poorly written, this style has even more of an effect. After
An example of literature is brought up, where for no apparent reason the historical novel became a popular genre and everyone was reading and writing them despite the fact that the genre had been around for a very long time. He used this example to give a concrete example if his idea, and it appeals to the audience’s
“Short Stories." Short Story Criticism. Ed. Jelena Krstovic. Vol. 127. Detroit: Gale, Cengage Learning, 2010. 125-388. Literature Criticism Online. Gale. VALE - Mercer County Community College. 28 February 2014
Short stories are temporary portals to another world; there is a plethora of knowledge to learn from the scenario, and lies on top of that knowledge are simple morals. Langston Hughes writes in “Thank You Ma’m” the timeline of a single night in a slum neighborhood of an anonymous city. This “timeline” tells of the unfolding generosities that begin when a teenage boy fails an attempted robbery of Mrs. Jones. An annoyed bachelor on a British train listens to three children their aunt converse rather obnoxiously in Saki’s tale, “The Storyteller”. After a failed story attempt, the bachelor tries his hand at storytelling and gives a wonderfully satisfying, inappropriate story. These stories are laden with humor, but have, like all other stories, an underlying theme. Both themes of these stories are “implied,” and provide an excellent stage to compare and contrast a story on.
Written stories differ in numerous ways, but most of them have one thing in common; they all have a narrator that, on either rare occasions or more regularly, help to tell the story. Sometimes, the narrator is a vital part of the story since without him or her, it would not be possible to tell the story in the same way, and sometimes, the narrator has a very small role in the story. However, he or she is always there, and to compare how different authors use, and do not use, this outside perspective writing tool, a comparison between Herman Melville’s Benito Cereno, Henry James’ Daisy Miller, and David Henry Hwang’s M. Butterfly will be done.
It is noteworthy to be stated clearly at the outset of the present paper that literary theories are composed of a mere plethora of highly debatable ideas, concepts and assumptions. They are in other words, strikingly vague, opaque and of a typical flexibility. According to Wellek and Warren (1966, p. 30) }there are then, not only one or two but literally hundreds of independent, diverse, and mutually exclusive conceptions of literature, each of which is in some way right~. That is, the diversity of literary theories and even the contradiction between them sometimes, is something natural.
The change from differing mediums, novel and film, reveal characteristics and possibilities of narratives. Through the advancement of technology, modern writers
Some of the characteristics of Modernism are: a desire to break conventions and established traditions, reject history, experiment, remove relativity, remove any literal meaning, and create an identity that is fluid. The rejection of history sought to provide a narrative that could be completely up for interpretation. Any literal meaning no longer existed nor was it easily given; essence became synonymous. Narrative was transformed. Epic stories, like “Hills Like White Elephants”, could occur in the sequence of a day. Stories became pushed by a flow of thoughts. The narrative became skeptical of linear plots, preferring to function in fragments. These fragments often led to open unresolved inconclusive endings. This echoes in the short story’s format. The short story functions in fragmented dialogue. Focusing on subjectivity rather than objectivity. Creating characters with unfixed, mixed views to challenge readers.
Short fiction stories are short stories that are not real. These stories are made up in the minds of the writers of the stories. Each story will have literary devices throughout it to enhance the story. These enhance literature because without them in the story, the reader would not be able to visualize the story and understand it as well as the author would like for the reader to. Strong short stories should have several literary devices throughout them to help the reader completely grasp what the writer is trying to unveil. Dynamic character makes the story in Anton Checkov’s story “The Bear.” The setting is important in Shirley Jackson’s “Lottery” and theme is important in Guy De Maupassant’s “The Necklace”.
Of the many literary conventions used to describe JM Coetzee's Foe, one of the more commonly written about is metafiction. Since about 1970, the term metafiction has been used widely to discuss works of post-modern fiction and has been the source of heated debate on whether its employ marks the death or the rebirth of the novel. A dominant theme in post-modern fiction, the term "metafiction" has been defined by literary critics in multiple ways. John Barth offers perhaps the most simplified definition: metafiction is "a novel that imitates a novel rather than the real world." Patricia Waugh extends our understanding to add that it is "fictional writing which self-consciously and systematically draws attention to itself as an artifact to pose questions about the relationship between fiction and reality." According to these definitions, metafiction concerns itself not with the creation of a new narra...
The short story, “The Yellow Wallpaper,” written by Charlotte Perkins Gilman focuses on a young woman’s psychological downfall and her fascination with the wallpaper within the house she and her husband are living in. The woman begins to believe that the wallpaper is coming alive, which leads her to become confused with reality and fantasy. Gilman selects the crazed woman as the narrator of the story. Furthermore, Gilman uses first person point of view to effectively convey the woman’s emotions and feelings during her mental decline.
It was about one-thirty in the morning in the town of Homestead Michigan. The almost florescent light of the moon bouncing off the fresh puddles that covered the ground. The grass and trees were covered in a thin layer of water causing every little beam of light to reflect back up. Anyone who may have been outside at this time would have without double, smelled the mix of fresh dirt and night crawlers. As the moonlight started to fade away through the cloud cover, three buses made there way through the streets and parked in front of HHS, the local high school.
There was a girl named Kandy, she was 15 years old. Her life was extremely boring, all she ever did was go to school, go on her computer, eat and sleep. She spent all summer on her computer. She was really good with HTML and spent her free time making web sites. Kandy didn't have many friends and rarely talked to guys because she was shy and unconfident about her looks. That's why she went into chat rooms. She made a web site with pictures of herself on it and told people in chat rooms to go there. A lot of people would tell her how pretty she was and some would say she was ugly. That made her feel awful. When anyone would say anything nice to her, she wouldn't believe them and think that they were just making fun of her. She only had one real friend that she could talk to, her name was Ang.
Every story has a main lesson to be gained, and all the themes can be connected. Each story has multiple themes, and many share the same. Some common ones include; “Things are not always as they appear”, “Look for the golden lining”, “Growing up is a challenge for everyone” and many other boring sentences along the lines of that. The short stories we have been reading are no exception. As we look through “Everyday Use”, “Chee’s Daughter”, “Civil Peace”, “Two Kinds”, and “Catch The Moon”, the reader will find themes for each story. They might even have a theme in common between all of them.
Eileen Baldeshwiler’s “The Lyric Short Story” discusses the two different branches of short story—the “epical” and the “lyrical” (231). Baldeshwiler highlights the separate functions of the forms by focusing on their stylistic differences. The epical short story, according to Baldeshwiler, relies heavily on “external action” that is “fabricated mainly to forward plot, culminating in a decisive ending that sometimes affords a universal insight” (231). Further, the plot and characters are “expressed in the serviceably inconspicuous language of prose realism” (Baldeshwiler 231). In other words, the characters, plot, and overall tone of the piece adhere to reality. In opposition to this style, Baldeshwiler explains that the lyrical short story “concentrates o...