Marry Ann Thomas quotes from Jonathan Dollimore a proponent of New Historicism, much of the work of New Historicists is explicitly concerned with the operations of power (qtd. in Thomas 3). Indeed the reason to analyze the literary texts using New Historicism approach is to show the culture. One of the methods of beginning a New Historicist analysis by Stephen Greenblatt is to recount an anecdote which contains image of the power relations for that matter. The anecdote belongs to general documents or practices firmly grounded in the historical travel narratives, penal documents, historical testimonies, confessional narratives.
The definitions, therefore, usually include additional adjectives such as aesthetic or artistic to distinguish literary works from texts such as newspapers, scientific textbooks, magazines, legal documents, brochures, and so on. Hamlyn (1998) stated that literature in the word originally meant all written language. More formally, literature is defined, according to one dictionary, as writing in which expression and form, in connection with ideas of permanent and universal interest, are characteristic or essential features, as poetry, romance, history, biography, essay etc. Not all good books are literature, but all literature is good, interesting, significant and well written. Based on those definitions above the researcher gives understanding that the literature is more than writing.
The Victorian Era, in which Austen and Dickens’s novels were written, saw a significant shift in the form of the novel. The form began in the Romantic Period, with novels feeling under the category of “pop” literature (Greenblatt, 2012a). However, under the structure of the Victorian Era, novels not only gained popularity, but began to be viewed as much more reputable in literary circles (Greenblatt, 2012b). In addition, the subject matter of literature changed during this time. According to the Glossary of Literary Terms, “much of the writing of the period, whether imaginative or didactic, in verse or in prose, dealt with or reflected the pressing social, economic, religious, and intellectual issues and problems of that era” (Abrams & Harpham, 2012).
"Significance of all these Chronotopes” on at least four different levels: (1) they have narrative, plot-generating significance; (2) they have representational significance; (3) they “provide the basis for distinguishing generic types”7; and (4) they have semantic significance" (Bemong 5-6) The different levels of the chronotopic elements cast light on different levels. First, the narrative technique used by the writer. In his writing, Hosseini uses the technique of an ominous writer, the third person narration. Secondly, the plot-generation is acreative task of the writer to create coherent flow of thoughts which tends to be the basic unit of a plot in the fiction or any form of writing. Thirdly, the elements help in representing
Approaching Wuthering Heights from the Elements of Fiction In literature, there are several criteria existing in order to examine a literary piece. Some of these criteria are setting, methods of characterization, point of view and other elements. In this article, those criteria will be explicated in accordance with the novel named Wuthering Heights written by Emily Bronte. Wuthering Heights takes places around two neighbor houses called Wuthering Heights and Thrushcross Grange specific places. Besides, Yorkshire Moors are the geographical location that is a place in England.
It took many forms when it emerged in England, and various techniques have been employed by writers with a variety of purpose. This paper attempts to understand the language technique used in the novel “Heart of Darkness” by Joseph Cornard. "Heart of Darkness" was written for and serialized
Whereas, the structure of a literary writing can employ tone, rhyme, rhythm, irony, dialogue and its variations such as dialects and slang, and a host of other devices in the construction of a particular prose work, poem, or play. For
The types seem to have a distinct identity telling us about the mark of Narayan’s conception of character. On reading the novels of Narayan, Sanyasa, a typology of study is revealed in many of his novels. The writer presents every conceivable face of a sanyasi from the fake to the
1996 176-9) Johnson has already addressed the close relationship between history and fiction, a topic that has been discussed by several scholars. They predominantly come from literary studies and share a critical perspective on the historians’ claim for factuality and verisimilitude. Historians often tend to see themselves as scientists, as Beverley Southgate points out, while dramatists, novelists, etc. sometimes see themselves as historians; for Southgate history appears to be a literary genre (Cf. Southgate 44) Already in 1975 Peter Gay observed the similarity between literature and history.
The Indian novelists in English, by using various linguistic and stylistic devices, have succeeded in infusing the rhythm of Indian languages into English and in assigning the Indian sensibility. Their language items form Indian thought and imagery and acquire a distinctive identity and elasticity. In the words of Prof. Gokak, Indian English Literature represents the evolution of a distinct standard, the body of which is English but whose soul is Indian in color, thought and imagery. There are different opinions regarding this experimentation in the style. Meenakshi Mukherjee states that the style is not integral to the author’s point of view but something added to the material like ‘icing on the cake or embroidery on a sari’.