Definitions of literature have varied over time; it is a "culturally relative definition". In Western Europe prior to the eighteenth century, literature as a term indicated all books and writing.A more restricted sense of the term emerged during the Romantic period, in which it began to demarcate "imaginative" literature.Contemporary debates over what constitutes literature can be seen as
returning to the older, more inclusive notion of what constitutes
literature. Cultural studies, for instance, takes as its subject of analysis both popular and minority genres, in addition to canonical works.
The value judgment
definition of literature considers it to cover exclusively those
writings that possess high quality or distinction, forming part of the
so-called belles-lettres ('fine writing') tradition.This sort of definition is that used in the Encyclopædia Britannica Eleventh Edition (1910–11) when it classifies literature as "the best expression of the best thought reduced to writing."
Problematic in this view is that there is no objective definition of
what constitutes "literature": anything can be literature, and anything
which is universally regarded as literature has the potential to be
excluded, since value judgments can change over time.
The formalist
definition is that "literature" foregrounds poetic effects; it is the
"literariness" or "poetic" of literature that distinguishes it from
ordinary speech or other kinds of writing (e.g., journalism).
Jim Meyer considers this a useful characteristic in explaining the use
of the term to mean published material in a particular field (e.g., "scientific literature"), as such writing must use language according to particular standards.
The problem with the formalist definition is that in order to say that
literature deviates from ordinary uses of language, those uses must
first be identified; this is difficult because "ordinary language" is an unstable category, differing according to social categories and across history.
Prose is a form of language that possesses ordinary syntax and natural speech
rather than rhythmic structure; in which regard, along with its
measurement in sentences rather than lines, it differs from poetry.On the historical development of prose, Richard Graff notes that "[In the case of Ancient Greece]
recent scholarship has emphasized the fact that formal prose was a
comparatively late development, an "invention" properly associated with
the classical period".
Novel: a long fictional prose narrative. It was the form's close relation to real life that differentiated it from the chivalric romance; in most European languages the equivalent term is roman, indicating the proximity of the forms.In English, the term emerged from the Romance languages
in the late fifteenth century, with the meaning of "news"; it came to
indicate something new, without a distinction between fact or fiction. Although there are many historical prototypes, so-called "novels before the novel", the modern novel form emerges late in cultural history — roughly during the eighteenth century.
Initially subject to much criticism, the novel has acquired a dominant
position amongst literary forms, both popularly and critically.
Novella: in purely quantitative terms, the novella exists between the novel and short story; the publisher Melville House classifies it as "too short to be a novel, too long to be a short story".There is no precise definition in terms of word or page count. Literary prizes and publishing houses often have their own arbitrary limits,
which vary according to their particular intentions. Summarising the
variable definitions of the novella, William Giraldi concludes "[it is a
form] whose identity seems destined to be disputed into perpetuity".
It has been suggested that the size restriction of the form produces
various stylistic results, both some that are shared with the novel or
short story, and others unique to the form.
Short story:
a dilemma in defining the "short story" as a literary form is how to,
or whether one should, distinguish it from any short narrative; hence it
also has a contested origin, variably suggested as the earliest short narratives (e.g. the Bible), early short story writers (e.g. Edgar Allan Poe), or the clearly modern short story writers (e.g. Anton Chekhov).Apart from its distinct size, various theorists have suggested that the
short story has a characteristic subject matter or structure; these discussions often position the form in some relation to the novel.
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