Beruflich Dokumente
Kultur Dokumente
Conventions
Literary Conventions
Once upon a time,
Reading from left to right
balloons in a graphic novel
Social Conventions
Prior to WWII, in North America, pink
clothes were thought to be especially
appropriate for boys, as pink was
thought a stronger color than blue.
Shaking hands upon first seeing
someone
Electronic Conventions
, , ALL CAPS
Abbreviations, acronyms
If you open a book at random in a bookstore, how do you know youre
looking at what is probably called a poem?
What does it mean when youre at the theatre and the curtains open, the
lights dim or when the audience applauds?
When you open a novel, do you expect it to contain a single continuous
piece of writing?
In a graphic novel, what are those balloons around the characters?
CONVENTIONS
Meter Sentences Aside
Stanza Paragraph Exit
Imagery Omniscience Monologue
Alliteration Narrator Stage Directions
Enjambment Plot Protagonist
Iambic Pentameter Epilogue Foil
GENRE
According to Oxford Concise Dictionary of Literary Terms, A literary genre is a
recognizable and established category of written work employing such
common conventions as will prevent reader or audiences from mistaking it
from another kind.
So if something is printed in acts and scenes, for example, you will most likely
be encountering a play. However, in the expanded genre world in which we
live, you cant always count on that.
And, of course, there are subcategories as well like sonnet, ballad, short story,
non-fiction, science-fiction, elegy, editorial, graphic novel, etc.
SO WHAT??? Great question!
Hans Robert Jauss notion is that a horizon of expectation on the part of the
reader is based, among other aspects, on what the reader expects a genre to do
or deliver. His work in reader reception theory foregrounds the reader as the one
who, in a sense, completes the written work by reading it. Therefore, if you have
an idea, for example, of what a short story usually looks like, your reading will be
affected by that experience and that expectation will enter into your response to
the story as a good or bad one, as something new and interesting, or so familiar as
to lack interest or be difficult to understand (148).
The World of literature course reduces
the complexity of genres for you
Macbeth by A Moment in
William Troy by Wistawa
Shakespeare Szymborska
Drama Poetry
Free Verse
Behold the silvery river; in it the splashing horses loitering stop to drink,
Behold the brown-faced men, each group, each person a picture, the negligent rest on saddles
You will note that here it is not possible to hear that regular alternation of stress and unstress, or heavy and light emphasis.
The poet has, in a sense, freed himself of the regularity of metrical verse. You might, however, notice that Walt Whitmans
poem Calvary Crossing a Ford has some rhythm to the lines by other means.
Prose
The car was going a wild forty-five miles an hour across the open and as Macomber watched, the buffalo got bigger and bigger
until he could see the gray, hairless, scabby look of one huge bull and how his neck was a part of his shoulders and the shiny
black of his horns as he galloped a little behind the others that were strung out in that steady plunging gait
You would almost certainly recognize this not as poetry but as what is probably part of a story, perhaps a novel or even part
of an essay. However, you might also be quick to notice that some rhythm is present here and its useful to think about what
causes this.
language selected and compressed for maximum
effect
In your reading, definitions of the form can provide a frame within which you will consider
and explore the individual play, but no work of art is usefully reduced to its class or
definition. With a play, in its dual nature as both words on a page and its performance,
there are even more variables to take into account in your reflections and writing (157).
And, lets not forget
With this excerpt, we are certainly aware of an entity, as well as the end of a sequence of
events (which includes both acts and happenings), the ingredients Abbott defines as a
narrative. We are reading the representation of a [mans] story (202).
Narration cont.
Sometimes a narrative can be told by we (a first-person plural narrator),
which is becoming a little more popular in the 21st century.
Below, we have the story of a feud between a father and a son. The events are
narrated by a pair of men in the town who watch the events being played out,
but never give much detail about themselves, the observers.
Baked Mud
The next day the yellow station wagon had disappeared. The only things left were
the open door of the motel, the circle of chinaberry trees, the dry January sun. And
in between Sebastiens dark stories about other floods and droughts, we also had
our silence, our solitude and our fear.
Juan Jose Saer
You will need to have the know-how to answer the following questions:
Whos telling the story?
How far do I trust the narrator?
How much does trust matter to my reading?
Narration (what, you were expecting something else?)
We are all familiar with the ways through which narrators let the reader know what a
character is thinking or feeling, like describing or using dialogue.
Another aspect of third-person narration, which provides some usually subtle effects, is
called free indirect style. This is a subtle way to operate with both the narrators voice
and a characters voice in a play in an intermingled and simultaneous way. Free-indirect
style has been described by Abbott as a kind of ventriloquism. Here we will hear the
narrator directly quoting what his character is thinking. Free of quotation marks, or the
usual she thought or even the dashes sometimes used to indicate alternating speakers, the
author simply allows the characters voice momentarily to take over the narrative voice.
Miss Brill
Dear little thing! It was nice to feel it again. She had taken it out of its box that afternoon, shaken
out the moth-powder, given it a good brush, and rubbed the life back into the dim little eyes.
What has been happening to me? said the sad little eyes. Oh, how sweet it was to see them snap
at her again from the red eiderdown!....But the nose, which was of some black composition, wasnt
at all firm. It must have had a knock, somehow. Never minda little dab of black sealing-wax
when the time camewhen it was absolutely necessaryLittle rogue! Yes, she really felt like that
about it. Little rogue biting its tail just by her left ear. She could have taken it off and laid it on her
lap and stroked it.
Katherine Mansfield
Miss Brill has gone out to sit in the park and she recalls assembling her outfit. We hear
her talking about her fox collar, something which, in the time of the story, would have
been a decorative accessory. Notice, however, the melding of the third person she with
a representation of her own thoughts.
Narrationstill
James Wood calls free indirect style a way of inhabiting omniscience and
partiality at the same time. You may be thinking that this style of narration
resembles both interior monologue and stream of consciousness, two other
features of narrative, BUT
Look at the next example of free indirect style. We will see Simon acting and
thinking, but we also hear exactly (this is a fictional construct after all) what
he is thinking and the way he is thinking about it.
Narration ( ?)
you thought, perhaps, it might be something different
Sometimes, the first introduction of a character will be with a description offering some physical
details. The physical details often reflect psychological details as well. Note how Dickens mixes
the literal and the metaphorical possibilities of language to create a vivid presence. You will also
notice that along with the physical and emotional details, actions are incorporated into Cathers
description.
Hard Times
He was a rich man: banker, merchant, manufacturer, and what not. A big, loud man,
with a stare, and a metallic laugh. A man made out of coarse materialA man with a
great puffed head and forehead, swelled veins in his temples, and such strained skin to
his face that it seemed to hold his eyes open, and lift his eyebrows up.
Charles Dickens
A Lost Lady
A well-grown boy of eighteen or nineteen, dressed in a shabby corduroy hunting suit,
with a gun and a gamebag, had climbed from the marshhe walked with a rude,
arrogant stride, kicking at the twigs, and carried himself with unnatural erectness, as if
he had a steel rod down his back.
Willa Cather
characterization
A more recent example includes some physical description in
conjunction with a minute gesture. Careful selection and
combination by Richard Powers work here to deliver a character
who is highly individualized. Notice, too, how important the
convention of names is to enrich the portrayal of character.
Plowing in the Dark
Spiegel assigned her a prodigy to call her own. A boy called JackdawJack Acquerelli. Jackdaw
came fresh from Californias largest computer science factory, although he looked barely old
enough to mail in his own software registration forms. He was just her height, one of the reasons
hed taken up with computers in the first place. He might have been attractive, except for the
steady diet of Doritos and the inability to abide much human contact without flinching. Adie
took to him at once, if only for mocking his last name. Each time she met him she unbuttoned the
top button of his habitual plaid flannel shirt, until she trained him to do so, all by himself.
Richard Powers
Looking closely at this extract, note as many conventions for
delivering characterization as possible. What do you infer about
Jack from what is written here?
Were still on characterization!
Very often, we learn about characters through what they say and through what
others say about them (dialogue).
Conventional phrases such as said Mr. Gradgrind, or retorted Master
Kidderston or even a set up like The Captain coughed and looked abashed. I was
intending to omit that tonight, are all recognizable as dialogue, and we can easily
figure out who is speaking and to whom. In the 20th century, however, the
conventions of presenting dialogue have changed, and it is sometimes more
difficult to figure this out.
Another interesting convention often used by writers to provide information about
characters is by connecting them to lists such as lists of books, or other items they
possess, such as clothing, collections of art, etc. Below is an example.
The Unfinished Game
An agitated young woman, with shocking red lips and excess baggage (two suitcases,
three handbags, two plastic bags stuffed with odds and ends) kicks my foot and
thrusts herself forward.
Goli Taraghi
Conventions of time,
space and structure
The final set of conventions we are going to look at has to do with
*the way that time is involved in narratives and
*the place or space where the sequence of events takes place.
As novelists, we can get the man to the plane in two sentences or in forty. The
time in the novel might be years or a day.
There are generally two conventional ways in which writers present the passage
of time: either in chronological order (a linear fashion) or in a disrupted or
disjointed order. How might this affect the message of the story? Why might an
author choose one way instead of the other?
Within these timelines, very often a secondary story (or several) will be included.
Subplots are a convention we all recognize. If you look at a variety of definitions
of this feature of plots, you will discover such words to describe their function as
contribute interest, add complexity, give impetus to action, add zest and
relief (Holman 1999); mirror, enhance, or intensify (Quinn 1999) and parallel
and contrast the main plot (Baldrick 1990).
Conventions of time,
space and structure
Later novels, starting in the early 20th century, began to disrupt or disjoint the
narrative sequence. Events yet to come would also be included by a convention
known as prolepsis or flash forwards and, at other moments, characters or the
narrator would include flashbacks (or analepsis) to return to events or happenings
that precede the narrative.
Naturally, these disruptions would have an effect on another conventionpace, or
the speed with which events unfold. In turn, suspense ( a very important element
for readers) is affected both by chronology or disruption, as well as the leaping
forward and looking back.
Both the time in which the novel or short story is set and the place or places form
the context for events and affect our perception of both people and events. Writers
can either foreground the setting, even to the point of making a place begin to seem
like another character, or they can make it so vague that we are barely aware of it,
or feel the events could be taking place just about anywhere.
Settings can also contribute significantly to the mood or atmosphere of narratives.
Dark and shadowy, for example, work well for mystery, the unexpected and the
violent; open spaces can be intimidating or liberating. In all cases, it is wise for you
as a reader to take account of the physical as well as the cultural aspects of both
time and space in your understanding of works.
How do I
identify a genre
by its
characteristics?
What is a literary
genre?
A genre is a
particular style or
type of writing.
Major Genres
Fiction
Writing that tells about
imaginary people and events
Non-Fiction
Writing that tells about real
people and events
lines of poetry (verses) are
written in stanzas