...tradition, no matter how immoral it may be. II. Paul and the townspeople stop for nothing in their pursuits. C. Paul will not give up until he is sure about the final race winner, even when it drives him to the point of mental and physical exhaustion. D. The townspeople will not give up their tradition of the lottery, even though they are murdering a wife and mother. III. Both pursuits end in terrible tragedy. E. Paul, as a child, dies with his final words declaring his accomplishments in the pursuit of money. F. Mrs. Hutchinson is brutally murdered despite her pleas for mercy as the townspeople “hurry” to fulfill their terrible tradition and move on with their day. Nicholas Pampaloni Professor Simpson English 102 10 November 2014 The Pursuit of Passions As long as men have existed, they have been filled with various passions. In and of themselves, these passions are neither good nor evil. Rather, it is how these passions are pursued and fulfilled that determines their morality. Authors Shirley Jackson and D.H. Lawrence both wrote short stories that paint pictures of the pursuit of two passions felt by...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...Fiction or reality? We know, that generally speaking nothing in romans comes out of thin air; there is a long tradition in literature of using real persons and events and turning them into fiction. Or as Virginia Woolf said: “Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners." There was a time, where you could count on, that (ikke that efter komma. Måske “ conut on a book being either documentary or…”) a book either documentary or fiction, but that is not how it is anymore: now it can both be documentary and fiction, but thus also neither documentary nor fiction. This is the genre, the literary scholar Poul Behrendt has called ‘the double contract’, between each writer and his reader is an implicit agreement – an unwritten contract which has traditionally gone out that either everything in the book was true – something that had taken place in the(evt. Slettet) reality – or the opposite: everything was fabricated. The double contract means that a creation easily can be fiction, a novel, but at the same time also has element which point at a concrete reality behind the fiction. (But) what is going to happen when you use real people – with naming names in novels? Can you write anything, as long as you call the text a ‘novel’? The lack of clarity between autobiography and prose, between reality and fiction, opens up new challenging opportunities for literature. A translation from danish to...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...speech "arts and letters" and "man of letters." Literature is commonly classified as having two major forms—fiction and non-fiction—and two major techniques—poetry and prose. Literature may consist of texts based on factual information (journalistic or non-fiction), as well as on original imagination, such as polemical works as well as autobiography, and reflective essays as well as belles-lettres. Literature can be classified according to historical periods, genres, and political influences. The concept of genre, which earlier was limited, has broadened over the centuries. A genre consists of artistic works which fall within a certain central theme, and examples of genre include romance, mystery, crime, fantasy, erotica, and adventure, among others. Important historical periods in English literature include Old English, Middle English, theRenaissance, the 17th Century Shakespearean and Elizabethan times, the 18th CenturyRestoration, 19th Century Victorian, and 20th Century Modernism. Important political movements that have influenced literature include feminism, post-colonialism, psychoanalysis, post-structuralism, post-modernism, romanticism, and Marxism. ------------------------------------------------- Essays An essay consists of a discussion of a topic from an author's personal point of view, exemplified by works by Michel de Montaigne or byCharles Lamb. "Essay" in English derives from the French word for "to attempt," essayer.[citation needed] Thus, one can find open-ended...
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...or the greatnesses of the story. Yet, there are some people who only read novel without a deep understanding. Usually the readers will be facing some questions which have something to do with the author’s intention making story. Common question coming out automatically after reading novel or short story is such what is the author trying to tell us in the story or what the moral lessons of the story is. According to Nurgiyantoro (1995:66) to know of what the author feels like to convey in the story is the main task of reading fiction work, it is either Novel or Short story. As a matter of fact, there are a lot of advantages gained by reading fiction. According to Nurgiyantoro (1995:3) Fiction talks about various problems of life in terms of interaction with environment, ourselves, and our interaction with god. Fiction is the result of dialogue, contemplation, and author reactions of environment and life. Although it is fictitious, it is not true if fiction considered as the...
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...1972-77; Social and Economic Studies, editor, 1972-77; freelance writer and researcher, part-time teacher in communications, publishing consultant, and speech writer, Jamaica, 1977-82; Institute of Jamaica Publications, managing editor, 1982-89; Jamaica Journal, editor, 1982-89; freelance teacher, writer, lecturer, 1989-; University of the West Indies, Cave Hill, Barbados, visiting lecturer/writer-in-residence, 1990; Caribbean Writers Summer Institute, University of Miami, Florida, director of fiction workshop, 1994, 1995; St. Lawrence University, Canton, NY, Dana Visiting Professor of creative writing, 1994-95; University of Alberta, Edmonton, Canada, writer-in-residence, 1998-99. Life's Work Jamaican-born journalist, poet, and short story writer Olive Senior is one of Caribbean literature's leading feminist voices. Her works, though written in English, remain heavily influenced by the region's patois, and draw heavily upon its oral storytelling traditions. In both her verse and fiction, Senior critiques the political and cultural ties that continue to bind Jamaica to its British colonial past. Her protagonists often find themselves divided between the resulting two worlds of assimilation and preservation, and she gives their speech and inner dialogues a corresponding tone. "In Jamaica, much as in England, diction has traditionally signified place of birth, level...
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...Shirin Bismillah M.A English (Prev.) IInd Semester One of the principal ideas of Catherine Gallagher’s essay The Novel and Other Discourses of Suspended Disbelief revolves around the ‘world outside the novel’ and how it got distinguished from other genres and previous forms of fiction. One of the most sophisticated explanation she develops across her Nobody’s Story. Gallagher argues that the condition for the emergence of the novel is the break from the scandal sheets which were scurrilous prose writings directed at real life figures. The female writers composing against the powerful patrons in the scandalous court chronicles of 1700s became the target of a degrading equation which was between a Writer and a Whore. The movement away from this degraded real life identity to the lofty observer of life changed their status from a whore to an intellectual. It is this observer who does not write of a real life personality but of a fictional Nobody who can fabricate stories and characters that are irreproducible and creations of sheer genius. Once the subject of a narrative is unrestrained from a real life identity, it eventually becomes a Nobody. This paper shall examine Henry Fielding’s Tom Jones, who becomes a new citizen of England, with his status of a Foundling. According to Gallagher, ‘fiction can and does exist independent of the novel’, which was also a response to rise of individualism and middle class that made novel a dominant form. This brings into light the question...
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...There is a lot of focus on what a Christian should or should not read in today’s society. We often are told that we should not read secular fiction because they do not show Gods work. I would disagree with this idea. In 2nd Samuel, the prophet Nathan tells David a story about a poor man whose lamb was stolen and killed by a rich man to feed a traveler.(2 Samuel 12:1-4 English Standard Version). Nathan told this story so David could understand better what he had done. We can also look at the parables of Jesus, none of which were true stories. Although these stories are fictitious, they were written to create an atmosphere that makes the reader think about their actions and how we should treat others. I think there is a lot that we can learn from non-Christian fiction as well. When we look at fiction, such as Lord of the Rings, many Christians will not read them. Some will say it is because it a fantasy, or because it involves magic and demons. There is so much more that can be taken away from the story. The books exhibit loyalty to your friends and neighbors. We are shown the struggles between good and evil inside a person, and we are shown that faith in something can be real. Stories just like that are found all throughout the Bible. I do think many books out there that are not appropriate for a Christian life, and it is important to know the difference. If we only limit ourselves to only Christian writings, we, in turn, limit ourselves from many great works of...
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...The genre has historical roots in antiquity and the fields ofmedieval and early modern romance and in the tradition of the novella. The latter, an Italian word used to describe short stories, supplied the present generic English term in the 18th century. Further definition of the genre is historically difficult. The construction of the narrative, theplot, the relation to reality, the characterization, and the use of language are usually discussed to show a novel's artistic merits. Most of these requirements were introduced to literary prose in the 16th and 17th centuries, in order to give fiction a justification outside the field of factual history. ------------------------------------------------- Definition[edit] Gerard ter Borch, young man reading a book c.1680, the format is that of a French period novel. | Madame de Pompadourspending her afternoon with a book, 1756 – religious and scientific reading has a differenticonography. | The fictional narrative, the novel's distinct "literary" prose, specific media requirements (the use of paper and print), a characteristic subject matter that creates intimacy, and length can be seen as features that developed with the Western (and modern) market of fiction. The separation of the field of literary fiction from the field of historical narrative fueled the evolution of these features in the last 400 years. A fictional narrative[edit] Fictionality is the most commonly cited feature to distinguish novels from historiography...
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...In the late 11th century the Middle English began with Norman Conquest of England. At the late 15th century the early Modern English began with the introduction printing press to London. Through the influence of the British Empire, the language has spread around the world since the 17th century. The old English literature is also called as Anglo – Saxon literature C. 450 – 1066. The literature was written in old English in Anglo – Saxon England, in the period after the settlement of the Saxons and other Germanic tribes in England. Many argues are goes with there work first work to know the years. The Anglo – Saxon chronicle is a collection of annals is old English from 9th century. Epic poems are very popular and the work Beowulf was the most famous work in old English. Oral tradition was very strong in early English culture. It’s composition between early periods of 11th century. Anglo-Saxon authors are anonymous. Twelve are known by their name from sources of medieval but only four are known by their vernacular works. In Anglo – Saxon several old English are adaptations of late...
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...most of which were directly or indirectly caused by the upper-class. In order to emphasize the relative strength and weaknesses of the working class and those in power, he entitled the book The Jungle, and included fictitious stories to emphasize the helplessness of the immigrants, despite their willingness to work. By making this a work of fiction, instead of a non-fiction book and recounting the true, horrible stories of the people he had encountered and interviewed during his thorough research, he was able...
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...“Hills Like White Elephants” by Ernest Hemingway is a short story every student studying English Composition should read. The narrative explores the difficult topic of abortion which college students should read about. Not only did the story explore the couple's dynamic it also delved into the feelings each partner had about the pregnancy. In “On Reading Fiction”, the author explains that readers enjoy fiction for three reasons, because it is an escape from reality, a possible answer to problems in their lives, and allows the reader the comfort of knowing that others are facing the same problems and feeling the same emotions as them. The author states, “we like it because fiction, as an image of life, stimulates and gratifies our interest in life.” This is without a doubt true, knowledge is power and reading about people’s lives and their experiences gives a leg up to the reader in his or her own life. While there are numerous short stories to choose from, “Hills Like White Elephants” should be part of the curriculum for college students because it digs deep into the conflicts everyone may face at one point in their lives about decision making, relationships, and changing your destiny. Being an ongoing issue in society, the topic of abortion is important to read about. Regardless of gender, reading about abortion is important because both parties should have a say in whether to keep the baby. Although not pointed out in black and white, in “Hills Like White Elephants” the reader...
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