The Edmund Waller’s poem “Of English Verse” stress the correctness in writing on several occasions. This is most noticable in the second stanza (lines 4-7) where Wallers feared the changing language and seen it as as a treat to correctess of literary works. The language played a very important role in preserving the authours craftmenship and meaning which ultimatly lead to immortality in the eyes of the readers. Both Chaucer and Wallace recognize the danger of changing language, either by hand or by changing dialect. Like Wallace, Chaucer recognized the dependance on stability of language for his immortalit... ... middle of paper ... ...quently is preceived with means of imagination which is a subjective experience.
History and culture play a role in the ever changing status of genres, which are difficult to define because the concept encompasses so many different literary qualities and conventions that can be broken or accepted, overlapped or mixed. Rather than define genre, some theorists approach the discussion of genre using Ludwig Wittgenstein’s concept of “family resemblances'; among literary texts. Although a literary text rarely has all the characteristics of... ... middle of paper ... ... are interpreted, and expectations and emotional outlooks are the individual results of reading literature. The expectations prompted by conventions in a literary text play a large role in the discussion of genre. For example, Mavis Gallant’s “From the Fifteenth District'; cheats the expectation that arises from the first sentence, “[a]lthough an epidemic of haunting...'; (Gallant 115), and surprises readers with the discovery that the story is a reversal of the ghost story.
The new historicists, whatever their differences and however defined, want us to see that even the most unlike poems are caught in a web of historical conditions, relationships, and influences. " Such an introspective framework ultimately contributes to a wide variety of conceptualizations in literary analysis; such as Marxism, Feminist criticism, and post-structuralism. This attempt to contextualize literary works in a historical manner is also supplemental to more conventional types of literary analysis such as deconstructionism. New historicism, however, tends to be representative of a postmodern project which inevitably leads scholars to question the application of historical concepts as an ideological tool in literary analysis. The attempt to establish a connection between a literary text and historical event is often reflective of the paradigms characteristic to the practice of writing history.
When used properly, the irony as an element of fiction not only arouses the interest of the readers but also supplements the message that the author intends to translate. There are several literary works that epitomize the proper and exquisite use of irony. If we consider dramatic irony, the most appropriate example to attest to what irony can do to a literary work if used effectively, is Sophocles’ Oedipus Rex. We can actually say that irony is used by several authors to challenge the supposed norms of literature. It adds shock value and makes sure that through each literary work made, the evolution of literature does not cease.
The world is full of opposites: up and down, left and right, empty and full. Duality is when these opposites are put into one idea. There are many great pieces of literature that contain this, but the most prominent are The Strange Case of Dr.Jekyll and Mr. Hyde by Robert Louis Stevenson, and Romeo and Juliet by William Shakespeare. In both of these pieces, a character or quote indicates the idea of many things having two different meanings to it, which is the main reason that duality exists. When the authors use the theme of duality, they want to affect the reader by making them understand the concept of something they are describing but using two very different things.
The true nature of it is elusive and needs subtler net to catch the variations. Thus a detailed stylistic study of Ezekiel's poems reveals interesting features of his poetic language and style. Style is "a characteristic way of deploying the transformational apparatus of a language." An author's stylistic preferences are highly significant because, as Ohmann points out, they "reflect cognitive
Literary translation has to do with translating texts written in a literary language, which is abundant in homonyms, ambiguities and arbitrariness. Literary language is highly subjective and connotative because each literary author is stylistically and lexically distinctive through his power of imagination, he uses certain literary techniques such as figures of speech, proverbs and homonyms through which he intertwines literary forms. The literary translator is therefore the person who concerns himself with translation of literary texts. “A literary translator, according to Peter Newmark (1988) generally respects good writing by taking into account the language, its structure, nature and content. The literary translator participates in the author's creative activity and then recreates structures and signs by adapting the target language text to the source language text as closely as intelligibility allows.
The uneasiness about the critic is so complex that it forces the readers to rely on other critics’ profound knowledge of the material. Literary scholars Matthew Arnold and Alexander Pope both have differing views concerning the necessity of the critic, his role, and his power that he wields over the work/text. While Pope and Arnold are excellent critics, they each bring something different to the playing field. Arnold brings the idea of disinterestedness and Pope outlines the true characteristics of a “good” critic. Although, both crit... ... middle of paper ... ... by nature, but Arnold and Pope present their readers with knowledge that make the concept of the critic more understandable.
This interpretation challenges the work of those critics who long assumed that literature was described through its identity as “imaginative writing” because it broadens the definition to fit texts that are situated in reality as well (Eagleton, 2). Literature’s use of language makes readers aware of its presence as an artistic text through the formal elements that “transforms and intensifies ordinary language” (Eagleton, 2). This means that the definition of literature is determined through the aesthetic linguistic qualities as they differ from regular discourse, classifying both through the form of the other. Through formal literary devices such a “sound, imagery,” and “rhythm”, texts are removed from their counterpart of regular speech and made strange (Eagleton, 3). This abnormal use of language allows for literature to move away from the efficiency of regular speech in the sense that ideas within texts require a perceptual effort of comprehension to occur (Shklovsky, 4).
Literature emerges from an amalgamation of external influence, literary form, readership, and authorial intent (Tyson 136). New Criticism asserts that only analysis of concrete and specific examples existing within the text can accurately assess literary work (135). New Criticism also discounts authorial agency and cultural force that informs construction of a text. New Critics believe sources of external evidence produce intentional fallacy, the flawed acceptance of the author’s intention as the text’s true meaning, and affective fallacy, the confusion of the text with the emotions it produces (136-37). This literary lens indicates that author’s intent, emotions prompted, and culture’s external influences result in chaos if used to assess literature (137).