Stephen Greenblatt's Poetics Of Culture

Modernist poetry is the affirmed break from the traditional literary subjects, styles, etc., specifically the nineteenth century Romantics and symbolist precursors. The modernists valued the construction of the literacy styles they sought to transform. An example of these literacy subjects is compressed lyrics that would be used in a foreign verse. Additionally, modernist poetry had the ideals of being marked by free verses and symbolism that contained visual creations. Along with their ideals and values, modernist poets believed the late nineteenth century and early twentieth century poets had the ability to reinvent a language based on a variety of personal experiences.

The fictional world is full of chaos, as people tend to prefer unstable theories to countless philosophies. Specifically, there is a literary shift from linearity and order to randomness and fragmentation. Consequently, Postmodernist writers understand that their works are subject to interpretation; however, they believe that the flexibility of understanding in texts is the basis for the development of innovative ideas in society. Moreover, Kurt Dinan writes in a nonlinear, flexible fashion by writing with a component of Mystery. Subsequently, the reader can make different predictions on what will occur throughout Don’t Get Caught, and the ability to predict and analyze uniquely is one of the principal ideals of Postmodernist literature.

The pathos and ethos of cultures is often discernable in literary narratives as expressions of the sentiment of approval or disapproval. Thus, the impact of literary narratives on cultures cannot be understated; the arts do impact and influence culture in both positive and negative ways. This is not a new phenomenon and can be observed in cultures as early as 6 Century B.C. and can be traced throughout human history. An example of this can be seen in Homer’s Odyssey, in which there are certain characters within the narrative that portray what is known as “arete.” Arete is viewed as a desirable character trait which some define as the display of perseverance, quick-wittedness, prowess, valor, etc.

As a movement preoccupied with self-expression, the Romantics held an inherent fascination with individualism and the faculty of imagination, perceiving both to be of the utmost importance and as such desired it to be conveyed in their art and literature. Such innovative ideals was the product of exceptional changes in society, as oppressive institutions and practices were contested, and art became a product of an individual’s emotional state and their imaginative capability. George Byron’s poem “Prometheus”, conveys these aspects, through its elevation of ordinary people and in exemplifying the Romantic attitude that art should always originate from the imagination. Similarly, Edgar Allan Poe’s short story is fascinated with these concepts, though it showcases their darker depths, as it depicts the emotional extremities of an individual and the ability for the imagination to become consuming. Hence, Byron and Poe explores notions of the self and the imagination in their respective texts due to the Romantic fixation of each of these ideals.

Drama is literature written for performance--or at least written in a style that would allow for stage performance. As a text form, drama can be thought of as story told though spoken remarks and stage directions(Kurland ,2000) .When we hear the term drama we think fun, excitement , expression of one’s self . A famous quote says that “play is not in the words, it’s in you” (Steller Adler). In the world of drama it is essential that we understand the difference between Process and Product Drama. The importance behind their differences is vital as it will help one to better able appreciate ad understand what drama is really about and what drama entails because drama is seen as much more than just movements , drama is life itself.

The reality of the universe of this particular work in One Hundred Years of Solitude by García Márquez erases the boundaries between the fantastic or imaginary and the real in order to present a situation in which both coexist in harmony. Although literary critics who see the novel as a totality unto itself, with its own declared ends bearing only an analogous relationship to society 's activity, may well object to this kind of test. Such critics may seek to judge novelists, not according to how well they depict real life, but in terms of how they create a new reality in an independent literary world. But since the novelist has an impact upon society, we argue that his work must also be judged on its view of "reality" and its interaction with human events. The characters in One Hundred Years of Solitude speak as if at a long and phenomenal party.

According to Abrams, “in literary criticism the term archetype denotes recurrent narrative designs, patterns of action, character-types, themes, and images which are identifiable in a wide variety of works of literature, as well as in myths, dreams, and even social rituals” (1999,12). Archetypal criticism argues that an archetype may determine the form and function of literary works. That is, a text 's meaning can be shaped by cultural and psychological myths. Archetypes are the basic forms embodied in recurring images, symbols, or patterns which may include

It is a manner of finding an identity or a set of ideas inside other people’s works and whether accepting or refuting them in a manner which does not degrade the works of others. A critic must be artistic and poetic and should have a writing style that captivates the readers and sends them on a journey of thoughts, like in Fuller’s case. However, a critic must, in my opinion, also be a scientist, in the sense of thought organization and ability to structure a belief in an easy conduct. Granted, art and its critique are far from being a science, and sometimes, they may get chaotic and overwhelming to the readers; but a good critic should always know how to structure a set of thoughts in the easiest way possible, without losing the artistic tone of the

He said, “’Creative nonfiction’ seems slightly bogus. It’s like patting yourself on the back and saying, ‘My nonfiction is creative.’ Let the reader be the judge of that. “ According to Cristina Hildago, a writer of creative nonfiction should not alter the accuracy of the narrative but in order to write an interesting story, a writer must also use of “devices and strategies available to the fictionist.” Generally, writers conduct researches, interviews, and immersion to effectively maintain the validity of the factual elements on the subject

Nathaniel Hawthorne’s The Scarlet Letter (1850), is a worthy allegorical novel in which symbolism invades al its components. Hawthorne’s works belonged to romanticism or, more specifically, dark romanticism. The author shaped his own literary style. Although his writing style was viewed as outdated when compared to modern literature, he conveyed modern themes of psychology and human nature through the use of allegory and symbolism. Therefore, Hawthorne customarily wrote elongated visual portrayals.Another aspect of his writing which was exclusive to his time was the use of formal dialogue which remained consistent from character to character.Although his dialogue was overly formal, it was an accurate tool to describe human emotion.