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1.
Ralph Waldo Emerson (Situmorang, 1980: 8) says that poetry teaches as much as possible with
Classical poetics.
Although classical writers on the subject of literary types failed to formulate a comprehensive
system of genres, they did fix certain distinctions that would continue to play a rolefirst
prescriptive, then descriptivein the Western poetic tradition. To begin with, the term poetics as
Aristotle defined it exclusively pertains to literary works composed in verse. The verse form,
however, is a less important criterion than the notion of poisis, which perhaps would be best
understood as "fiction." While it was common practice in antiquity to present scientific material
in verse form, Aristotle decisively limited the term poetry to fictional representations. Homer is a
poet; Empedocles is not (1447b). Prose, which was then restricted to oratory, historiography, and
Aristotle's own manner of philosophical discourse, belongs instead to the realm of rhetoric. The
fact that Aristotle neglected to account for the fictional use of prose, for example, in the fable, is
already an indication of his general lack of comprehensiveness.
In a similarly broad move, Plato (c. 428348 or 347 B.C.E.) had divided all literary genres into
two primary categories: poetic representations by way of described action, as in epic poetry; and
representations by way of impersonated action, as in drama. When Plato was faced with the fact
that Homeric epic in fact employs both modes of representation, the philosopher added the
"mixed mode," where the related action alternates between straight narrative and re-created
dialogue (392394). The existence of what we would call lyric poetry (for example, iambic
poetry, elegy, melic poetry, or choral odes) is vaguely acknowledged by Plato in Book 10 of the
Republic, but only to be condemned as beautifully contrived falsehoods passed off as truth.
Aristotle, whose explicit intention at the beginning of On Poetics is to give an account of "poetry
in itself and its kinds or forms [ eid ]" (1447a), summarily abandons a discussion of lyric
composition by reverting to Plato's fundamental division between narration and impersonated
dialogue.
This persistent lacuna, however, hardly played a role in the development of European poetics.
The crucial point rather is that both Plato and Aristotle insisted that poetry is an art of
representation or imitation (mimsis). Placed alongside a nascent theory of genre, the idea of
mimesis introduces the important issue of decorum (what is appropriate for certain characters to
say or do in certain situations). An ancient concern for genre thereby anticipated one of the
fundamental tenets of later formalism, namely that representational content is inseparable from
representational form. With the identification and accumulation of more poetic forms in Latin
treatises such as Horace's Ars poetica and Quintilian's Institutio oratoria, classical genre theory
could be further codified to serve as a system of prescriptive rules for composition as well as for
the critic's evaluation.
the ideal, which correspond respectively to lyric, epic, and drama. Literary genres became
associated with the epistemological concerns opened up by the critical philosophy of Immanuel
Kant (17241804). Here, traditional approaches to genre-criticism contributed to new models for
explaining how we give form to the world around us.
Contemporary issues.
Although the idea of using prescriptive norms for poetic composition had been entirely
discredited by the close of the eighteenth century, this does not mean that theories of genre no
longer contributed to discussions of poetics. Although Benedetto Croce (18661952) in his
Aesthetics (1902) persuasively argued that all genre designations were mere abstractions
disrespectful of the artwork's uniqueness, there has been no lack of theoreticians who have
recognized the benefits of generic descriptions for the study of literature. Accordingly, genre
criticism has yielded to notions of intertextuality, where, as in the famous remark by T. S. Eliot
(18881965), a poet's individual voice is determined only in relation to the preceding tradition of
forms or conventions. Northrop Frye, who outlines an altogether elaborate system of literary
archetypes in his Anatomy of Criticism (1957), similarly approaches literary history with an eye
toward broad, organizational patterns. Structuralist accounts, which in many respects respond to
Frye's archetypal criticism, essentially replace the term genre with code. The work of Roland
Barthes, Tzvetan Todorov, and Grard Genette, for example, demonstrates the continued
usefulness of generic criticism, especially when the notion of genre assumes a more provisional
and aspectual quality. Even postmodern theorists of criture fminine (feminine writing), which
explicitly claim to transgress all interpretive laws, as in the work of Hlne Cixous, should be
regarded as perpetuating discussions of genre, however idiosyncratically. This is the case even
when generic boundaries serve as the target of critique, as in theories of gender and sexuality, for
example in the work of Judith Butler.
Read more: Poetry and Poetics - Genre - Aristotle, Literary, Example, and Criticism - JRank
Articles http://science.jrank.org/pages/10754/Poetry-Poetics-Genre.html#ixzz4NoIt40wc
BAB. I
INTRO TO LITERATURE I
1. Literature
2. Genre of Literature
3. Elements of Genre of Literature
WHAT IS LITERATURE?
Everything written
Belle letre
PROSE
POETRY
DRAMA
Characters
Characterization
Setting
Plot
Point of View
Tone
Theme
Figurative Language
Tone
Rhyme
Poetic Diction
Point of View
Setting
Theme
Characters
Action
Theme
Plot
Scenery
Properties
Gesture
Costumes
Dialogue
Extrinsic Elements
SHORT STORIES
1. Characters
2. Setting
3. Plot
4. Theme
5. Point of View
6. Style
7. Tone
Elements of Short Stories
1. Characters
1. Themes are expressed and emphasized by the way the author makes us
feel.. By sharing feelings of the main character you also share the ideas
that go through his mind.
2. Themes are presented in thoughts and conversations. Authors put
words in their characters mouths only for good reasons. One of these is to
develop a storys themes. The things a person says are much on their mind.
Look for thoughts that are repeated throughout the story.
3. Themes are suggested through the characters. The main character usually
illustrates the most important theme of the story. A good way to get at this
theme is to ask yourself the question, what does the main character
learn in the course of the story?
4. The actions or events in the story are used to suggest theme. People
naturally express ideas and feelings through their actions. One thing authors
think about is what an action will "say". In other words, how will the action
express an idea or theme?
Elements of Short Stories
5. Point of View
Point of view signifies the way a story gets told the mode established
by an author by means of which the reader is presented with the
characters, dialogue, actions, setting, and events.
First Person
The narrator is a character in the story who can reveal only personal
thoughts and feelings and what he or she sees and is told by other
characters. He cant tell us thoughts of other characters.
Third-Person Objective
The narrator is an outsider who can report only what he or she sees
and hears. This narrator can tell us what is happening, but he cant tell
us the thoughts of the characters.
Third-Person Limited
The narrator is an outsider who sees into the mind of one of the
characters.
Omniscient
The narrator is an all-knowing outsider who can enter the minds of
more than one of the characters.
Tone
The authors attitude, stated or implied, toward a subject. Some
possible attitudes are pessimism, optimism, earnestness, seriousness,
bitterness, humorous, and joyful. An authors tone can be revealed
through choice of words and details.
Mood
The climate of feeling in a literary work. The choice of setting, objects,
details, images, and words all contribute towards creating a specific
mood. For example, an author may create a mood of mystery around a
character or setting but may treat that character or setting in an ironic,
serious, or humorous tone
NOVELS
A novel (from, Italian novella, Spanish novela, French nouvelle for
"new", "news", or "short story of something new") is today a long prose
narrative set out in writing. The seventeenth-century genre conflict
between long romances and short novels, novellas, has brought
definitions of both traditions into the modern usage of the term.
Novels
Genres of the novel
Science fiction
Fantasy
Crime fiction
Westerns
Romance novels
Spy novels and thrillers
Gothic fiction
Campus novel
Elements of Novels
1. Characters
2. Setting
3. Plot
4. Theme
5. Point of View
6. Style
7. Tone
8. Symbols
Elements of Novels
8. Symbols
A person, place or object which has a meaning in itself but suggests
other meanings as well. Things, characters and actions can be
symbols. Anything that suggests a meaning beyond the obvious.
Some symbols are conventional, generally meaning the same thing to
all readers.
For example: bright sunshine symbolizes goodness and water is a
symbolic cleanser.
PROSE
8. PROSE is the ordinary form of written language. Prose imitates the spoken language. .