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Impact of african american literature
Research on african american literature
Impact of african american literature
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Classic works of literature are not arbitrarily deemed as such. In order to be regarded so highly, a literary work must demonstrate its ability to touch upon – and thoughtfully examine – important issues of a particular era (so to speak, a slice of time). A traditional canon is substantiated by consistent and legitimate acclaim, and while of course there is an underlying element of subjectivity, literary scholars tend to possess discerning taste. Blindly placing faith in the opinions of experts can be dangerous, however; trusting all of their judgments and assuming the entire literary canon is worthwhile to read would be a misstep. Ideally, by initiating readers with exemplary works, a unique taste is born and the reader can then pursue the literature of their choosing. A truly alluring work of literature is one that retains meaning no matter who the audience is – if the impact of the story only resonates with a small group, its scope (and message) is limited.
Perhaps the most dominant feature of ‘classic’ works is the presence of a particularly memorable character. Multi-layered, evolving characters enhance the progression of the story, but not in a perfunctory manner, and not simply as a device to move the story forward. Additionally, if a primary character is similarly constructed to the average reader, it legitimizes the plausibility of the work. By offering a portrayal of a character that is grounded in reality connects the reader – who may be able to relate to the character’s plight or triumph – and lends real meaning to the story. For instance, in Melville’s “Bartelby, the Scrivener,” the titular character is thoroughly downcast and displays no fun characteristics, but a great number of people can sympathize with the mis...
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...sic American storytelling, and their prodigious skill should not be overlooked. I would have enjoyed more exposure to African-American literature within the curriculum, as I find it a good deal of it saturated with authenticity and a very approachable (but sophisticated) prose. Although I can admit the inclusion of several prolific and respected female writers was rewarding and enhanced the scope of the course.
Ultimately, enforcing a strict traditional literary canon is logistically implausible, but holding reverence for outstanding literary works should be continued. In some ways, it is the natural progression of a well-rounded education: what sort of high school student should be exempt from reading “The Catcher in the Rye?” If we expanded this discussion to foreign writers, it becomes immeasurably and unflinchingly imperative to maintain a traditional canon.
In Herman Melville's short story, Bartleby, the Scrivener, the narrator's attitude towards Bartleby is constantly changing, the narrator's attitude is conveyed through the author's use of literary elements such as; diction-descriptive and comical, point of view-first person, and tone-confusion and sadness.
Murphy, B. & Shirley J. The Literary Encyclopedia. [nl], August 31, 2004. Available at: http://www.litencyc.com/php/speople.php?rec=true&UID=2326. Access on: 22 Aug 2010.
It is the mainstay of many pieces of classic American literature, especially those that fall into the category of 'pulp', to have thin, cardboard-cutout characters with obvious emotions and intentions for which their only purpose is to drive the story to a predetermined end. The seductive and dangerous femme fatale; codgerly old men; the badgering and nagging housewife, adorned with dress and apron; and etc... These characters, and the many like them, are set into a story to play a specific role—namely as a reactor—and force the protagonist in some direction. After all, what would a hero do if there was nothing heroic to be done? Sit around? Twiddle their thumbs...? These characters are, in some degree, necessary for the purpose of advancement, and the only reason I have spent this first paragraph going into them, however briefly, is that I feel the need to distinguish between a person and a character. Ostensibly, they are the same thing, at least from an outward point of view. One might say, “A story has people,” which is practically the same thing as saying, “A story has characters.” But, the obnoxious semantics aside, these are not both the same thing—it's a case of the uncanny...Characters, though appearing to be people, are not. They are posters of people, images of people—used to meet some plot obligation and/or bring out characterization in a real person. As confusing as this could sound, it's really simple: Characters are not people. They are merely ideas or archetypes1 of a human form, used to push the story along. People are real. They react to things, sometimes stupidly, sometimes intelligently, and above all, when written into a story believably, give the verisimilar appearance of truth and correctness (even when doing...
The marriage of the masculine and the feminine into one, at times, indistinct sphere produces what Gene Laskowski calls a “masculine sentimentality” in his dissertation of the same name; curiously called, he adds, as “sentimentality is commonly associated with the tender landscape of feminine” (Laskowski 4). Laskowski calls for a broader understanding of gender in Melville’s works, which need to be “liberated” from their prescribed gender definitions (Laskowski 4). I hope to extend Laskowski’s argument in adding further evidence of “masculine sentimentality”, particularly in Moby-Dick.
Characterization has been established as an important part of literature as it allows authors to fully develop characters’ personalities, allowing readers to understand the characters and their actions. In the poem Judith, the author uses adjective phrases to describe Judith and Holofernes’ personalities. The diverse contrast in their nature highlights the heroic qualities in Judith, which teach the reader to have faith in God, as that is where her courage and strength stems from. Therefore, characterization can further be used as a technique to establish major themes in a work of
To create living people should always be the goal in literature. It is how a writer can illuminate a new facet of existence and can only be achieved through the use of a sympathetic imagination. Hemingway erred however, when he argued, “A character is a caricature” (153). A caricature may be a character sometimes, but it may also be a fully realized and living person at others. As in Watchmen, when a caricature lives, it can be an extremely powerful thing.
As this semester comes to a quick close I have learned about the lives of many authors, the works of many authors and the variety of impact that they had on the nation. American Literature has had many different impacts on America. The literature has shaped the lives of the American people from generation to generation. The literature has shared the lives of those long before and created traditions to be passed on from family to family. From learning of a woman who changed the idea of women in literature to reading about the life of a man who shaped the nation as president, American Literature has increased my knowledge of the nation that I call home. There were authors I had no knowledge of such as Walt Whitman, authors that widely influenced
Oftentimes, the life of an author is reflected in his works. This is due to the fact that the experiences of the writer can serve as the foundation of his story line. Some of the famous authors who are known to have utilized this technique, which is also dubbed as Roman Clef, include Charles Dickens and Fyodor Dostoyevsky. Even in an unconscious manner, the author’s life is an inspiration to his writings and hence having a big impact on the entire work.
Perkins, Geroge, and Barbara Perkins. The American Tradition in Literature. 12th ed. Vol. 2. New York: McGraw Hill, 2009. Print
classic, a novel must have one or more qualities that place it above the rest.
Perkins George, Barbara. The American Tradition in Literature, 12th ed. New York: McGraw Hill, 2009. Print
The notion of the author has often been disputed when it comes to critical literary studies. The argument centers around one basic question: Should the author be considered when looking at a text? There are numerous reasons given as to why the author is important or why the ...
How important is an individual that most often than not authors focus on the growth of one over the growth of the many? Is it because the growth of one symbolizes the growth of all? Or is the focus on the individual due to the image it presents which is the growth in us? In any event, this outlook of individualism is widespread in literature and different genres and techniques excavate the development of the individual. Another factor that comes into play in the development of the character is the situation and the effects of the environment. Within William Shakespeare’s play The Tempest and Michael Cervantes Saavedra’s satire Don Quixote are two different characters molded and formed or in both cases malformed to incorporate their capsules which are the genres and settings that imprison them.
Moby Dick, written by Herman Melville, is believed by some to be the greatest literary works of all time. The book takes place in the 1840s and seems greatly advanced for its time. Herman Melville uses many literary techniques that bring about severe imagery as well as insight and education to the readers. One concept that is conveyed in Moby Dick is the journey itself. This is broken into the physical journey, the spiritual journey, and life’s journey.
“Classic” is a term used to describe many things, such as a defining moment or a memorable book. When a book is described as a classic, it persuades new readers to discover why it is so memorable to those who have read it before them. Harper Lee’s To Kill a Mockingbird, published in 1960, is a common example of a literary classic, studied in classrooms all over the world today. Peace Like a River is a newer novel by Leif Enger, one that may very well become a classic in the future. It is an immensely profound novel that presents a new way of looking at the role of miracle in today’s lives. However, how would a novel like Peace Like a River, become a classic similar to To Kill a Mockingbird?