To define genre is to embark on a conjectural journey within a theoretical minefield. Genre theory has drawn immense debate and contemplation throughout literary history, however, several conclusions have emerged. Genre types are unfixed categories whose characteristics differ considerably among the specific genres; furthermore, the role of literary history plays a significant role in discussions of genre, for genre types evolve and shift with each new literary text. An approach to the discussion
events” (“Magic”). Magical realism as a literary technique encompasses all literary documents that weave any supernatural elements into the natural world, has integrated itself into many modern texts, and has close cousins in the literary genre universe. For most people, the first thing that comes to mind when a person says “magic” is a group of persons with wands conjuring all sorts of fanciful images from thin air. Similarly, magical realism is a literary technique that combines a “…rational view
The captivity narrative genre is not often a favorite type of literature among most students. Perhaps because of the time in which they were written, students have trouble relating to characters whom lived in a setting more than two and three hundred years ago. Although the genre receives attention in many early level American literature college courses, high school English teachers rarely—if at all—teach captivity narratives. When it is used, students perceive the captivity narrative as a historical
Times, Eliot Fremont-Smith discusses the squabbles that occurred in the literary world over Truman Capote's In Cold Blood, squabbles that continue today. He wrote of Capote, "The author is now concerned that In Cold Blood be taken as an example of a new literary form, 'the non-fiction novel'"(8). The debate of what constitutes a novel and what constitutes non-fiction. Fremont-Smith argues that the mixing of the two genres is irrelevant: It is too bad, because this fine work raises questions
reputation amongst Romantic writers and readers, creating a ground-breaking genre that would remain popular within entertainment today. These literary elements, alongside the turning of a literary age and the unofficial fight for recognition between the Romantic and Gothic writers, were the key turning points that would maintain the Gothic’s literary form within history. By reviewing Walpole’s work, it can be seen where the Gothic genre was born and what elements from this writing has trickled down to the
plain, young woman and a misunderstood hero, who come together to develop a lasting romance. Charlotte Bronte first published Jane Eyre in 1847, under the pseudonym Currer Bell, a novel which has since become a success by earning its way into the literary canon. Bronte was born in 1816 in Yorkshire England and studied at the Clergy Daughters' School. After leaving school she became ever more interested in writing and reading Byron, after whom she later fashioned Rochester. Joyce Carol Oates relays
The dogs got to the gate; it was hard for them to open the door; the bolts were very high. (209) By making the reader hesitate (Todorov) about whether this is supernatural or real, this story could be placed into the Fantastic genre, but we can't put it into this genre because it also has an element of the Sublime in it. The Magical Realist technique that the author uses is the closeness or near merging (Faris) two different days. This becomes apparent when the narrator states that it was "a
Literature. Princeton, N. J: Princeton UP, 1976 The Metamorphosis. By Kafka, Franz. Summary. 31 Jan 2001.< http://mchip00.med.nyu.edu/lit-med-db/webdocs/webdescrips/kafka98-des-html.> Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary Form. Cleveland: The Press of Case Western Reserve University, 1973.
Community. Ed. Lois Parkinson Zamora and Wendy B. Faris.Durham, N.C.: Duke UP, 1995. 125-144. Hodges, Margaret. Saint George and the Dragon. Boston, M.A.: Little Brown and Company, 1984. Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary From. Cleveland: The Press of Case Western Reserve University, 1973. 168-174.
Day We Were Dogs" has too many magical elements that are treated as normal not to be magical realism. However, I also felt that the story has some unreal elements that are not treated as normal. Therefore, I feel that the story may also fit into the genre of fantastic literature, which creates questions about the unreal elements. Given this fact that the story hovers between magical realism and fantastic literature, it can not be absolutely defined as an example of magical realism. After reading