In “The Art of Fiction,” James states that “the air of reality,” which he describes as the “supreme virtue of a novel,” can be defined as “solidity of specification” (327). Specific... ... middle of paper ... ...ator acts as a witness to the events of the story rather than an omniscient author who informs the reader of the true intentions and thoughts of the characters. In this way, the novella is extremely realistic and shows how James’ technique establishes a novel approach to writing literature. By asking the reader to actively take part in the text, James arguably begins a tradition that would be taken to extreme lengths in the Modernist tradition. Works Cited James, Henry.
Metafiction, loosely defined as fiction about fiction, provides an intriguing perspective on literature. J.M. Coetzee’s novel Foe and Margaret Atwood’s short story “Happy Endings” are able to provide a commentary on fiction writing while still retaining their own identities. Both authors offer criticism of fiction writing as connected to gender issues, societal expectations, and the process and components of fiction writing itself. In order to become metafictional, Coetzee and Atwood had to make readers aware of what they were reading.
Henry James discusses the intricacies of writing in his piece “The Art of Fiction.” While the main binary in literature is between that of fiction and non-fiction, however James further distinguishes the category of fiction into romance and novel. While a romance exists for the form of entertainment and is driven by character development, a novel is more of an attempt to create a realistic representation of the current social standard. James declares that fiction is not just a leisure art form but meant to be taken seriously, as a historical text. In this piece James critiques the work of another author, Besant, and discredits the former hostility towards novels as a credible form of knowledge. Many of James’ key points are present in his short story “Daisy Miller: A Study” which follows a young girl’s journey through American society abroad.
The Genre of The Great Gatsby If you want to find out, into which literary corner F. Scott Fitzgerald's masterpiece, the "Great Gatsby", belongs, you’ve got to take a look at two main genres of novel-writing, the so-called "novel of manners" on the one hand and the romance on the other. The novel of manners gives, using most of the time a rather satirical tone, a sharp portrayal of the actual life as it really is and also of the social behaviour and attitudes that are closely related with it. This type of novel concentrates on people of a certain class, time and place are clearly defined. The individual attitudes of those people, their inner desires, get into conflict with the more conventional values, which are defined by the society they live in. The result is, that the protagonist has the problem of combining himself and his desires with the rules (the manners) of society, that he himself as a part of this society helped to establish, involuntarily.
pg 108. 2017). Short stories may not generally always revolve about a character’s development but instead prioritizes on the development of the story. The author prioritizes on the heme to convey the message to reader. Two example of written fiction stories are The Tell-Tale Heart and Momento Mori, which would also be analyzed.
According to M.H Abrams fiction is; “any literary narrative, whether in prose or verse, which was invented instead of being an account of events that actually happened” (1999: 94). Fiction as one of literary work genre, in the narrow sense, is a term which only leads to a narrative written in prose, such as the novels and short stories, and even sometimes used only as a synonym for the novel. Then, narrative prose in which is based on biography, history, or contemporary facts not merely referred to as “Fiction”, but is often referred to as “fictional biography”, the historical novel, and the non-fiction novel (Abrams, 1999: 94). Abrams (1999: 190) stated that novel is a variety of writings which is an extended version of fiction works written in prose. As an extended narrative, Abrams also explain that novel has a greater variety of characters, the
Works Cited • Austen, J. Pride and Prejudice (Ware: Wordsworth Classics, 1993) • Eagleton, T The English Novel (Oxford: Blackwell Publishing, 2005) • Eliot, G Middlemarch (Ware: Wardworth Classics, 1994) • Hawthorn, J, Studying the Novel (London: Bloomsbury Academic, 2010) • Morris, P Realism (Oxon: Routledge, 2003) • Newton, K.M. ‘Narration in Middlemarch Revisited’ in George Eliot Review, 42 (2011), p. 19-25,6 [accessed 1 April 2014] • Southam, B. C, ‘Jane Austen’, in The English Novel, ed. by A. E. Dyson (London: Oxford university Press, 1974)
One has to account for the differences or the similarities between the genres in order to put the discussion of the narratee in the elegy into its proper perspective. The current trend leans heavily on Bakhtin's study of the structure of the novel. In the Dialogical Imagination, Bakhtin created a sort of dichotomy between the monologic (poetry) and the dialogic. The novel becomes the site of dialogical discourse par excellence (49). But how valid is a wholesome distinction between genres within which there is so much diversity?
Another aspect of my discussion will incorporate selected citations taken directly from the novel, which are utilized by each scholar to support his or her c... ... middle of paper ... ...y nor that the distinctions between each perspective are absolute. The separation of the different perspectives is complex and ambiguous. Therefore the apparent relation between the different aspects partly coincide with one another. Works cited Benstock, Shari, "The Scarlet Letter (a) dorée or the Female Body Embrodidered", in Ross C Murfin, ed., Nathaniel Hawthorne. The Scarlet Letter.