Confmict Classifjcations of Literature revised: 09.04.12 || English - - PowerPoint PPT Presentation

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Confmict Classifjcations of Literature revised: 09.04.12 || English - - PowerPoint PPT Presentation

Sep 15, 2022 252 likes •470 views

Confmict Classifjcations of Literature revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor Types of Confmict All stories deal with confmicts and secondary-confmicts in one fashion or another: human vs nature

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Confmict • Classifjcations of Literature

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Types of Confmict

All stories deal with confmicts and secondary-confmicts in one fashion or another:

  • human vs nature
  • human vs human
  • human vs supernatural or gods/God/ Fate
  • human vs self
  • human vs technology or progress
  • Be able to identify these as they appear in your readings.
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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Types of Confmict

All stories deal with confmicts and secondary-confmicts in one fashion or another:

  • human vs nature

(wilderness / disease / animals)

  • human vs human
  • human vs supernatural or gods/God/ Fate
  • human vs self
  • human vs technology or progress
  • Be able to identify these as they appear in your readings.
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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Types of Confmict

All stories deal with confmicts and secondary-confmicts in one fashion or another:

  • human vs nature

(wilderness / disease / animals)

  • human vs human

(political / economic / religious / racial differences)

  • human vs supernatural or gods/God/ Fate
  • human vs self
  • human vs technology or progress
  • Be able to identify these as they appear in your readings.
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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Types of Confmict

All stories deal with confmicts and secondary-confmicts in one fashion or another:

  • human vs nature

(wilderness / disease / animals)

  • human vs human

(political / economic / religious / racial differences)

  • human vs supernatural or gods/God/ Fate

(Jonah / Oedipus vs Fate)

  • human vs self
  • human vs technology or progress
  • Be able to identify these as they appear in your readings.
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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Types of Confmict

All stories deal with confmicts and secondary-confmicts in one fashion or another:

  • human vs nature

(wilderness / disease / animals)

  • human vs human

(political / economic / religious / racial differences)

  • human vs supernatural or gods/God/ Fate

(Jonah / Oedipus vs Fate)

  • human vs self

(mental illness / morality confmicts / physical endurance)

  • human vs technology or progress
  • Be able to identify these as they appear in your readings.
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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Types of Confmict

All stories deal with confmicts and secondary-confmicts in one fashion or another:

  • human vs nature

(wilderness / disease / animals)

  • human vs human

(political / economic / religious / racial differences)

  • human vs supernatural or gods/God/ Fate

(Jonah / Oedipus vs Fate)

  • human vs self

(mental illness / morality confmicts / physical endurance)

  • human vs technology or progress

(computers / industrialism / corporations)

  • Be able to identify these as they appear in your readings.
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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Journey = Quest

No matter how mundane, whenever a protagonist is shown in motion in a story, the plot exists as an obvious symbol of a hero on a quest.

A. B.

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Journey = Quest

No matter how mundane, whenever a protagonist is shown in motion in a story, the plot exists as an obvious symbol of a hero on a quest.

  • This likewise translates to a larger metaphor:

any hero’s quest is a journey for understanding life.

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

No matter how mundane, whenever a protagonist is shown in motion in a story, the plot exists as an obvious symbol of a hero on a quest.

  • This likewise translates to a larger metaphor:

any hero’s quest is a journey for understanding life.

  • Readers consciously and subconsciously translate this notion in their heads

and apply it to themselves and their own lives.

Journey = Quest

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

No matter how mundane, whenever a protagonist is shown in motion in a story, the plot exists as an obvious symbol of a hero on a quest.

  • This likewise translates to a larger metaphor:

any hero’s quest is a journey for understanding life.

  • Readers consciously and subconsciously translate this notion in their heads

and apply it to themselves and their own lives. examples: Homer Odyssey Grimm Brothers “Little Red-Cap” Mark Twain Adventures of Huckleberry Finn

  • L. Frank Baum

The Wonderful Wizard of Oz

  • J. D. Salinger

The Catcher in the Rye George Lucas Star Wars Richard Wright “The Man Who Was Almost a Man”

Journey = Quest

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Modes of Transportation ship, boat, raft train, locomotive, subway, roller-coaster car, racecar, recreational vehicle spaceship, rocket motorcycle, motorbike, bicycle, tricycle horse, donkey, goat

  • n foot

Journey = Quest

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Journey = Quest

Modes of Transportation ship, boat, raft train, locomotive, subway, roller-coaster car, racecar, recreational vehicle spaceship, rocket motorcycle, motorbike, bicycle, tricycle horse, donkey, goat

  • n foot
  • Any mode of transportation becomes an obvious symbol.
  • It is up to the critic to decide the relevancy of the vehicle in the plot—
  • and to decide the type of journey:

physical psychological spiritual moral cultural et cetera

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

  • In addition, if characters are shown at a standstill, resting, relaxing, sleeping—

these actions show: a state of limbo

  • r confusion
  • r lack of motivation
  • r lack of confmict in their life.

Journey = Quest

} { life

quest mode

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

For Each Reading Assignment

To help build patterns with the various readings, identify the following elements in stories as the class progresses with different examples of literature.

  • 1. protagonist
  • 2. antagonist
  • 3. confmict type
  • 4. protagonist’s motivation / goals (journey)
  • 5. journey type
  • 6. mode of transportation
  • Likewise, be able to back-up your observations with evidence from the story itself.

Note specifjc passages and phrases which defend your views.

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Realistic mode: Equal balance of extremes between good and evil. The world is full of both forces. The world is controlled by both unseen forces at one time or another. The goal of the work expresses a want to achieve the happy ending. Keep in mind, the happiness is not always achieved in the story. Naturalistic mode: Writer wants to expose evil, corruption. Here the author shows evil existing in abundance. The protagonist fjghts against extreme horror, suffering.

Literary Modes

G E G E

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Romantic mode: In this case the hero is ultimately good, patriotic, devoted. He/She will triumph even if it means dieing. Some are shown in more realistic settings than others. The protagonists ultimately controls the environment. There exists an ultimate struggle between good and evil; however, there will be a happy ending. Fantasy mode: Examples include surrealism, magic-realism, unreality, dream logic. Good and evil struggle against one another in terms similar to realistic models.

Literary Modes

G E G E G E

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Existential mode: The most complex mode of these fjve concepts: the world is seen as a living hell for humans, a surreal nightmare; the human race is dehumanized by the modern world. The goal of the work expresses a want for the protagonist to see how a happy ending is possible; however, more than likely the protagonist cannot move outside of the self-induced rut of their environment. Such characters are displayed as anti-heros. At best the element of good might be reached if characters acknowledge their mistakes. However, oftentimes these fmawed characters are overwhelmed by the prospect of change and refuse to transform themselves. The idea of ‘good’ therefore is a state not achievable— it is an idealistic dream and nonexistent. Involves elements of realism, fantasy, naturalism, and romanticism.

Literary Modes

G E

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Literary Movements: Generally, the movements are markers of time within the various centuries. The movements shift between these various modes of literature. Renaissance Romanticism Gothic Transcendentalism Realism Naturalism Symbolism Modernism Surrealism Postmodernism Magical Realism Imagism

Literary Movements & Genres

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

Literary Genre:

  • On the other hand, a Genre is a different classifjcation of writing.

The LWP states in its glossary that Genre is “a classifjcation of literature: drama, novel, short story, poem.”

  • The term does go beyond this—a genre is a category of literary composition

and are determined by technique, tone, content, or even length.

  • In other words, there are more than four categories: classes and subclasses

exist in this huge litany of Literature.

  • Just looking at short story alone, some genres include:

horror fantasy romance science fjction mystery westerns et cetera

Literary Movements & Genres

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revised: 09.04.12 || English 1302: Composition II || D. Glen Smith, instructor

  • In class we will cover the development of the literary classic genres of

Poetry, Drama, and Prose.

  • We will focus on what is considered ancient and modern examples
  • f these forms of creativity.
  • It is important to remember, the current writing develops from a pre-history
  • f our earliest attempts at explaining what is meant by human nature.
  • Before writing developed around the 4th Century BCE, stories were

memorized and passed to generation from generation. Homer’s Iliad and The Odyssey are two ancient examples of the literary tradition which developed before writing was invented.

A Matter of Historical Perspective