The more explicit devices of authenticity faded from use, and a new sense of self-awareness emerged as novelists argued for legitimacy within the narrative. In Henry Fielding's Tom Jones, the story is just as important as its construction. The narrator, at times barely distinguishable from the author, frequently intrudes, expounding on the tale but also explaining how and why the narrative works. The meticulous documentation of the "art" of the novel shows that writing novels (as well as reading them) is not idle work. By Jane Austen's time, the genre had a clear enough definition of itself that her narrators rarely occasioned to intrude like Fielding's.
In this collection of essays, David Scott Kastan addresses Shakespeare studies in what he deems a “post-theoretical moment.” According to Chapter 1, theory is institutionally singular but intellectually plural, theory is always theories. While agreeing with the notion that the age of theory is over, Kastan does not devalue theory. Rather, he suggests that instead of producing new theories we must address the controversies in already existing ones. Since theory showed us that meaning was not inherent but rather dependent upon the situation, action, and context of the piece. These reliances are otherwise known as history.
As Warren Hedges has noted, Foucault’s contribution to literary studies has been to encourage us to think about how no writer’s description or categorization is simply neutral. Instead we can think about how writers further, complicate, or challenge the discourses of their time. He goes on to say that, these discourses “promote specific kinds of power relations, usually favoring the ‘neutral’ person or professional.” New Historicism as a literary practice didn’t come into being until the 1980’s when the questions raised by Foucault developed into practice, led by Stephen Greenblatt. This process was not instantaneous; it took a long time to fully develop into a series of reading practices. “New Historicism,” Hunter Cadzow writes, Never was and never should be a theory; it is an array of reading practices that investigate a series of issues that emerge when critics seek to chart the ways texts, in dialectical fashion, both represent a society’s behavior patterns and perpetuate, shape, or alter that culture’s dominant codes.
In his essay, “On Several Obsolete Notions,” Alain Robbe-Grillet criticizes the stable characters, linear plotlines, and calculated content which make up the conventional novel. He argues that a novelist does not need to begin a story with its content in mind rather, “the novelist’s strength is precisely that he invents [...] without a model.” And that “invention and imagination become, at the limit, the very subject of the book” (Robbe-Grillet 32). Robbe-Grillet’s notions of the creative process are true in that a successful novelist may not require a formula to write by; instead he may experiment with language for a chance to reveal new ideas. The Nouveau Roman, or “new novel,” is a movement popularized by Robbe-Grillet’s criticisms of the conventional novel. Since the conventional form of narrative has been perfected by writers in such a way that it is easily accessible and enjoyed by the mainstream community.
There are many theories and definitions of nationalism. “Imagined Communities: Reflections on the Origin and Spread of Nationalism” by Anderson Benedict gives a proper definition of nationalism. From the first chapter of the book, Anderson of the text believes that both Marxist and liberal lost substance in explaining the concept of nationalism. According to the author, nationality and nationalism are comparable to natural artifacts. In addition, nationalism is yet to produce heroes.
We may not have enough knowledge about such subjects, however we still can use our ideas from what we know and how we understand the subject. College writing has to be conceptualizing on an organized and high-level way, which makes sense to readers. Really is not about how much we know more than how much our writings are convincing and clear that can make readers understand. As we know there are kinds of writings, college writing and poor o... ... middle of paper ... ... will use the writing course to understand the teaching, learning, reading and writing basics. One thing I forgot to mention is plagiarism, which means “taking someone else’s work and presenting it as your own without mentioning the source”.
Task 1 Factual texts are that the thing we read is based on facts. The facts are true and reliable. Facts cannot come out of nothing, so they are based on research and studies. Reading texts will to teach us more about the real life, it can be especially the thing you are interested in. Unlike fictional texts, the factual texts are based on facts, and not things that amazes our brain and imagination.A important rules before you writing a factual texts is the text should be based on recent studies,and it must be written in an interesting way so the reader can easily read and understand the text.
Academic Arena “Writing is an exploration, you start from nothing and learn as you go.” – E. L. Doctorow Academic writing refers to a style of expression used by researchers to document their discipline specific study in a standard written structure. It is characterized by a formal tone, a determined focus on the research problem and precise word choice. It may include formal academic rhetoric or jargon to convey unambiguous and agreed meaning to researchers of their respective fraternity. Academic writing can vary depending on the subject, the methodology and the intended audience; however it follows certain conventions which can be summed up as: Standard Language: Academic writing does not encourage colloquial language, regional dialects,
He believes that students should read literature, not about it. His “new criticism” is one that follows pluralism and is a melding of the two previously stated ideas. Crane talks of both literary criticism and historical criticism as a spring board to fully understanding literature and believes that in the future, we can decide on what is a true critical fact rather than all these theories. He says we need to revive the classics and when that happens, the “renewed cultivation” of reading and writing will commence. This, Crane believes, is what any worthy piece of literary criticism should be based on.
Mailer`s The Armies is written in an overtly self- conscious manner as he assumes the roles of both the author and the central character. It models itself on the tradition of the more experimental fiction of the time. In this novel, Mailer does not abandon reality like fabulists but rather he extends the literary range to make reality relevant and meaningful in this multi-faceted and complex world. In this novel, Mailer attacks traditional reporting that rarely gets at the truth of a situation such as the march on the Pentagon. As critic Kathy Smith points out, "Mailer's strategy [..