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CHAPTER 1: CHARACTERISTICS, TYPES must recognize a richness of figurative to the senses of the audience. Just like AND ELEMENTS OF FICTION language and concomitant element of the farce, the characters are of a single...

CHAPTER 1: CHARACTERISTICS, TYPES must recognize a richness of figurative to the senses of the audience. Just like AND ELEMENTS OF FICTION language and concomitant element of the farce, the characters are of a single ambiguity. dimension and simple, or may be stereotyped. e. Musical Drama – do not only tell their A. Characteristics of Fiction stories through acting and dialogue, but - A fiction is a literature created from the B. TYPES OF FICTION through dance as well as music. Often imagination, not presented as fact, 1. Short story- It can be read in one the story may be comedic, though it may though it may be based on a true story sitting of about a half hour to about two also involve serious subjects. or situation. It is from the Latin fictiō, hours (Edgar Allan Poe). “the act of making, fashioning, or - It contains between 1,000 and 20,000 molding.” words and typically run no more than 25 2. POETRY- conveys a thought, describes - the author invents the story and makes or 30 pages and because of their limited a scene or tells a story in a concentrated, up the characters, the plot or storyline, length, it generally focus on one major lyrical arrangement of words. It can be the dialogue and sometimes even the plot or storyline and a few characters. structured, with rhyming lines and meter, setting. It does not claim to tell a true the rhythm and emphasis of a line based story. Instead, it immerses us in on syllabic beats. Poems can also be experiences that we may never have in 2. Novella- It is longer than short stories freeform, which follows no formal real life, introduces us to types of people and tend to run about 20,000 to 50,000 structure. we may never otherwise meet and takes words, usually between 60 and 120 Types of Poetic Forms us to places we may never visit in any pages. other way. It can inspire us, intrigue us, - It has more room to work with, they 1. Blank verse-written with a precise scare us and engage us in new ideas. It typically have a more complex plot or meter—almost always iambic can help us see ourselves and our world storyline and more characters than short pentameter—that does not rhyme. in new and interesting ways. stories. 2. Rhymed poetry-rhyme by definition, Fiction: The Story and The Moral although their scheme varies. - Fiction is subjective and evocative. It is 3. Free verse - lacks a consistent rhyme "made up," and indirect in its 3. Novel- It contains over 50,000 words scheme, metrical pattern, or musical communication. A work of fiction may or 120 pages. form. evoke: the thrill of imagining impossible - It has more than one plot or storyline or unavailable experiences intrigue with and many well-developed characters. 4. Epics. Lengthy, narrative work of playing out "what if" or" if only" - There is no outer limit to their length. In poetry. These long poems typically detail scenarios feelings and perceptions of fact, the longest novel ever written is a extraordinary feats and adventures of another historical period, or simply 17th century work that contains over characters from a distant past. observations on the human condition. two million words and more than 13,000 5. Narrative poetry. Tells a story. - read fiction not to gain new information pages. 6. Haiku. A three-line poetic form so much as to experience the ideas and originating in Japan. The first line has five feelings a story inspires within us. syllables, the second line has seven 4. Drama- a composition in verse or syllables, and the third line again has five - Proof is a major issue with nonfiction; prose presenting a story in pantomime syllables. emotional involvement is a major issue or dialogue. It contains conflict of 7. Pastoral poetry. Concerns the natural with fiction. We expect a story (fiction) characters, particularly the ones who world, rural life, and landscapes. These to grab us, an essay (nonfiction) to perform in front of audience on the stage. poems have persevered from Ancient convince us. We will suspend belief The person who writes drama for stage Greece (in the poetry of Hesiod) to when reading a romance novel or directions is known as a “dramatist” or Ancient Rome (Virgil) to the present day science fiction, but demand reason and “playwright.” (Gary Snyder). evidence from nonfiction. 8. Sonnet. A 14 line poem, typically (but not exclusively) concerning the topic of - For passing time or sheer enjoyment, 1.1 POPULAR TYPES OF DRAMA: love. Sonnets contain internal rhymes of course, simply reading the story can a. Comedy – lighter in tone than ordinary within their 14 lines; the exact rhyme be satisfaction and reward enough. works, and provide a happy conclusion. scheme depends on the style of a sonnet. The intention of dramatists in comedies 9. Elegies. Reflects upon death or loss. is to make their audience laugh. Hence, Traditionally, it contains themes of they use quaint circumstances, unusual mourning, loss, and reflection. However, Fiction is Subjective-fiction is the characters, and witty remarks. it can also explore themes of redemption expression of an author's imagination. b. Tragedy – uses darker themes, such as and consolation. The characters and situations are "made disaster, pain, and death.- Protagonists 10.Ode. Much like an elegy, an ode is a up." often have a tragic flaw — a tribute to its subject, although the Fiction is Evocative:- Fiction evokes characteristic that leads them to their subject need not be dead—or even ideas and feelings indirectly by triggering downfall. sentient, as in John Keats’ “Ode on a emotional responses and mental pictures. c. Farce – nonsensical genre of drama, Grecian Urn”. * Fiction commonly communicates which often overacts or engages 11.Limerick. A five-line poem that through images and symbols. slapstick humor. consists of a single stanza, an AABBA * Readers must be open to associations rhyme scheme, and whose subject is a and reflection, creative in their d. Melodrama – exaggerated drama, short, pithy tale or description. understanding and interpretation. They which is sensational and appeals directly 12.Lyric poetry. The broad category of poetry that concerns feelings and regard to the themes, motifs, evil witch). Closely related to emotion. This distinguishes it from two characterizations, atmosphere, tone, etc.? stereotype. … other poetic categories: epic and a. *What is the period (century, decade, 7.Stereotype: a character so little dramatic. year) during which the action occurs? individualized as to show only qualities 13.Ballad. A ballad (or ballade) is a form b. *Over how many hours, days, weeks, of an occupation, or national, ethnic, or of narrative verse that can be either months, years, decades, etc. does the other group to which s/he belongs poetic or musical. It typically follows a action take place? 8. Universal: characters with problems pattern of rhymed quatrains.It c. The effects of the setting may include and traits common to all humanity represents a melodious form of a particular atmosphere, insight to the storytelling. characters and/or their motivations, and 9. Individual: a more eccentric and 14.Soliloquy. A monologue in which a a key or connection to or reflection of unusual representation of character character speaks to him or herself, other aspects of the story. expressing inner thoughts that an C. Function of Character audience might not otherwise know. Soliloquies are not definitionally poems, 2. Character / Characterization 1. Protagonist: the principle figure in the although they often can be—most Character - The mental, emotional, and story. famously in the plays of William social qualities to distinguish one entity Shakespeare. from another (people, animals, spirits, 2. Antagonist: the character with whom 15.Villanelle. A nineteen-line poem automatons, pieces of furniture, and the protagonist is engaged in a struggle. consisting of five tercets and a quatrain, other animated objects). Character *Note: a conflicting agency not with a highly specified internal rhyme development is the change that a embodied in an actual character is called scheme. character undergoes from the beginning an antagonistic force of a story to the end. 3. "Confident" for confidant(e): the Characterization= process by which character in whom another character C. ELEMENTS OF FICTION fictional characters are (usually the protagonist) confides, presented/developed 1. Setting - Where, When, and (under) 4. Foil: a secondary character serving as What Circumstances? What Cultural A. Methods of Characterization [“Show a backdrop (mirror) for a more important Content (if any)? These are all the and Tell”; or Telling versus Showing] character. Typically, the foil is rather place/where & time/when & 1. Expository/Direct Presentation: ordinary and static so that the unusual reason(s)/why the action/events occur. described and/or “explained” by the qualities of the primary character will be Nota Bene: If this information is narrator more striking in contrast. Often this withheld by the narrator, critical thinkers same character is both confidant and foil. must consider the narrative motivation 2. Dramatic/Indirect Presentation: Anthropomorphic characterization is the for the omission and the effects (on actions “show” the kind of person the characterization of animals, inanimate purpose or by “accident”) of this lack of character is a. His/Her own actions, objects, or information. behavior, speech, and recorded thoughts > A. Where (place): The “physical” and/or b. Qualities are apparent by what environment where the story takes place other characters say about him/her natural phenomena as people. Skilled (the description of this environment may authors can use this to create fantasy suggest its importance to other aspects B. Types of Characters even from stuffed toys. The of the fiction such as theme and characterizing of inanimate objects from “message.” 1. Flat: a one-dimensional character, tiny soldiers to trees and so on has many * Special features of some settings typically not central to the story effects in stories –however, sometimes a include: bird is just a bird, a cigar is just a smoke, 1. Local Color: The use of regional details 2. Two-dimensional characters may be and water is simply water. Animal to add interest and (sometimes) meaning used as vessels to carry out the plot characters personified create particular to the story. Use of Local Color may 3. Round: a complex, fully-developed effects, especially when the animal include description of a specific locale, a character, usually prone to change characters contain connotative manner of dress, customs, speech metaphoric connects to human traits, i.e., patterns (dialect or accent), and slang 4. Static: these can be either round or fox = sly, weasel = duplicity, swan = expressions. flat characters, but they do not change elegance. during the story. Folktales, fairytales, and 2. Regionalism (Regional Literature): other types use static and flat characters 3. Plot- What happens in the story? When the description of a region whose actions are predictable, so the What is the design (structure) ” – time becomes an intrinsic and necessary part reader is free to concentrate on the “line” – of the narrative? of the work, the relationship of the action and theme as each moves toward - The plot is the series of events and region to the action is characteristic of an often times universal discovery. actions that occur in a story. The Regional Literature. 5. Dynamic: a developing character, structure of the plot is the method or usually at the center of the action, who sequence in which incidents in a changes or grows to a new awareness of narrative are organized/presented to the B. When (time): Time includes all of its life (the human condition) audience/readers. dimensions.* What was going on at that 6. Stock: “borrowed” personage or time? What, if any, importance has the archetype (ex. Western hero in white hat; A. Conflict (in the sense of “friction” or period and/or time-span of events with old, longed-nosed, straggly-haired hag as “battle” but not military/war) in fiction is the opposition of forces or characters; impacts or effects the current situation. unidentified, anonymous speaker or that this “friction” usually fuels the action. However, the fiction writer tells the story of an observer/character in the story, the Complication or “Exciting” Force is what in logical or sequential order, the order narrator is never the author [never], not fuels the rising action and may incite in which the events occurred, even if the character has the same name later events. Longer works may have progressing to the climax and resolution as the author. As with “real” life, one several “complications.” of the story. Essentially, the writer tells should always “consider the source” of a 1. Man versus Man / the Individual the story by moving forward in time, but report and/or evaluation concerning versus another Individual makes reference to important events and/or people. Therefore, “know” 2. Human versus Nature / the Individual information that happened in the past. who is telling the story, versus the Physical World The fiction writer will use flash- 3. Human versus Society / the Individual forward to move the narrative into the measure the omniscient details (if any), versus the Civilization or “Order” future. The writer uses this device to tell note how objectively the report (story) is a story about imagined, expected, related, and determine how reliable the 4. Human versus Herself/Himself // The anticipated, or possible events. person/voice (narrator) may be. For Individual versus the Self (human nature) Foreshadowing is a literary device used example, does s/he have anything to by the fiction writer to provide “hints” or gain from misrepresenting the “facts”? B. Divisions of the Plot include: “clues” about might/will happen later in Types of Narrative Voice: the story. Essentially, the writer “drops 1. Exposition and/or Rising Action: how hints” about the plot or a possible A. Omniscient - a story told in the third readers learn details previous to the outcome. The foreshadowing can be person; the narrator's knowledge, story’s beginning, and then continues explicit, such as dialogue, or implicit, in control, and prerogatives are unlimited, toward the climax of the story the form of a clue. Often, the writer uses allowing “authorial” subjectivity. foreshadowing to create suspense in the B. Limited Omniscient - a story told in 2. Diversion: any episode prior to the mind of the reader. Sometimes the the third person in which the narrative climax that does not contribute directly writer provides a clue to mislead the voice is associated with a major or minor to the rising action or add to the reader. This is called a red herring. Other character who is not able to “see/know” suspense (example: comic relief in times the writer foreshadows a possible all, may only be able to relate the tragedy). ending—but then ends the story with a thoughts of one or some characters but plot twist. Sometimes the writer uses not others, may not know what 3. Climax: the moment in the story at symbolism to foreshadow something happened “off stage” or in the past. which a crisis reaches its highest that will occur later in the story. (A First Person - the story is told from intensity and its potential resolution, the symbol represents something other than the first person "I” personal point-ofview, turning point its literal meaning.) usually that of the main character. Interior Monologue – firstperson, train of 4. Dénouement (“unknotting”) or Falling 4. Narrator / Narrative Voice - Who is thought “overheard” by the reader (NOT Action telling the story? …What is the … spoken out loud as is a monologue), or Narrative Point of View is the perspective sometimes “overheard” and reported by C. Order- The writer has several methods from which the events in the story are an omniscient narrator; other times it of telling the story. These include: observed and recounted. To determine occurs as stream of consciousness (“The Chronological order, Total Flashback, the point of view, identify who is telling Jilting of Granny Weatherall”). Combination: Flashforward and the story, that is, the viewer through Subjective Narration - first person, chronological, and Flash forward/ whose eyes the readers see the action narrator seems unreliable, tries to get Foreshadowing (the narrator). readers to share his/her side or to assume values or views not usually Chronological order. The story A. Pronoun p-o-v: First (I, We)/Second presumed by the reader. Detached progresses in a linear fashion. First, there (You)/Third Person narrator (He, She, It, Autobiography - first person, reliable is the inciting incident. This is followed They] narrator that guides the reader. Narrator by all the events that are caused or B. Narrator’s degree of Omniscience is main character, often reflecting on a related to the inciting incident. The most [Full, Limited, Partial, None]* past "self” – sometimes an adult important event besides the inciting recounting an event from childhood. incident is the event which causes the C. Narrator’s degree of Objectivity When it is the latter, it is important to climax or turning point in the story. [Complete, None, Some (Editorial?), notice “how” the adult voice affects the Total flashback. It refers back in time Ironic]* child’s story. to important events took place or he can Memoir or Observer Narration - first use it to provide background information D. Narrator’s “Un/Reliability” - The Third person, narrator is observer rather than about the character. Often the writer Person (therefore, apparently Objective) main participant; narrator can be begins the story in the present, and then Totally Omniscient (fly-on-the-wall) confidant(e), eyewitness or "chorus" tells a story that happened in the Narrator is the classic narrative point of (provides offstage or background past.The fiction writer can also tell a view through which a disembodied information). This narrator can be story by using both flashback and telling narrative voice (not that of a participant reliable or unreliable. the story in chronological order—in the in the events) knows everything order that the events occurred. Often (omniscient) recounts the events, C. Objective or Dramatic - the opposite the fiction writer uses flashback to tell introduces the characters, reports of the omniscient; displays an objectivity; the reader about an important event dialogue and thoughts, and all details. compared to a roving camera with sound. that occurred in the past, and event that Nota Bene: Whether the voice of an Very little of the past or the future is given; the story is set in the present. It 3. Olfactory: imagery of smell (e.g., readers now know, [should] has the most speed and the most action; the smell of stale beer) understand,…? it relies heavily on external action and A. Theme is the central or dominating dialogue, and it offers no opportunities 4. Tactile: imagery of touch (e.g., the idea(s) in a literary work, may be several, for interpretation by the narrator. feel of bare feet on a hot sidewalk) particularly in longer, complex fiction D. Framed Narrative – some narratives, B. The theme must be expressible in the particularly collections of narratives, 5. Gustatory: imagery of taste (e.g., form of a statement involve a frame narrative that explains the tart, dry taste of starchy, green C. A theme reflects a central vision of life the genesis of, and/or gives a perspective bananas) or a statement about the human on, the main narrative or narratives that condition/experience conveyed in a work. follow, e.g., Chaucer’s Canterbury , G. Allegory: a literary work in which the For example, “Mankind exists in an Conrad’s Heart of Darknes symbols, characters, and events come to indifferent world.” represent, in a somewhat point-to-point 5. Atmosphere (Mood) - The dominant fashion, a different metaphysical, 1. Broadly, a theme may be the view of emotion/feeling that pervades a story. It political, or social situation. In Western life that pervades a story; i.e., “Man’s is less physical and more symbolic, culture, allegories have often been used selfimportance is ridiculous in associative, and suggestive than setting, for instructive purposes around Christian comparison with the immensity of the but often akin to the setting. themes universe.” A. Every story has some kind of atmosphere, but in some, it may be the 8. Symbols- Concrete objects/images 2. No theme is identical with a Moral. An most important feature or, at least, a key that stand for abstract subjects. The example of a moral would be, “Honesty to the main points of the story objects and images have meanings of is the best policy.” B. Atmosphere is created by descriptive their own but may be ascribed subjective details, dialogue, narrative language, and connotations > A mature work does not teach, rather such. it reveals (it shows rather than tells); it Two types: does not preach, but interprets. 6. Tone- The narrator’s attitude toward his subject and audience 1. Established (General): the meaning of. 3. In longer works, the central theme A. Narrator’s tone may show, for an established symbol is derived from may be accompanied by a number of example, admiration for the subject or a outside the context of the story, from lesser, related themes, or it may contain character “received association,” i.e., symbolism is two or more central themes. Usually, B. Or the narrative tone can suggest pity agreed upon “universally” (artificially) by these contain insight into the human or hostility; on the other hand, the culture, religion, tribe, kinship, etc. For condition. narrator may be condescending or example, a journey = life; water = 4. The means by which themes may be “folksy” with the audience rebirth/new beginning; lion = courage expressed include: C. Sometimes the narrative tone is ironic 2. Private (Personal): definable only a. Narrator may sum up the significance D. The narrative tone may be within the context of the story in which it or meaning in a pithy paragraph demonstrated by direct comment, by appears. b. Narrator may use a wise character to characterization, or by choice of words, voice the theme symbols, or other literary devices. Helpful suggestions for identifying c. Modern writers generally embody the 7. Style - The qualities that distinguish literary symbols: theme in dramatization – the the works of one author from another’s, action,dialogue, or other elements. In including: other words … A. Diction: word choice: formal/informal 1. The story itself must furnish a clue that > The theme (1) can be a revelation of B. Sentence Structure (simple or a detail is to be taken symbolically human character; (2) may be stated complex) symbols nearly always signal their briefly or at great length; but (3) is not existence by emphasis, repetition, or the "moral" of the story C. Syntax: sentence patterns of language position. A. A theme must be stated as a - grammatical and ungrammatical 2. The meaning of a literary symbol must generalization about life. Names of arrangements of words be established and supported by the characters or specific situations in the D. Language: abstract or concrete entire context of the story. A symbol has plot are not to be used when stating a E. Dialogue: can be either more dialogue its meaning inside not outside a story. theme. than description, or dialogue limited to 3. To be considered a symbol, an item B. A theme must not be a generalization certain characters, or simply lacking must suggest a meaning different in kind larger than is justified by the terms of the dialogue altogether from its literal meaning. story. 4. A symbol has a cluster of meanings. H. C. A theme is the central and unifying F. Imagery: sensory details such as Motifs: recurring structures, contrasts, or concept of the story. It must adhere to similes, metaphors, onomatopoeia in a literary devices that can help to develop the following requirements: work includes: and inform the major themes (points) of 1. It must account for all the major the story details of the story. 1. Visual: imagery of sight 9. Author’s Purpose (Intent)/Theme- 2. It must not be contradicted by any The fundamental and often universal detail of the story. 2. Aural: imagery of sound (e.g., soft ideas explored in a literary work. 3. It must not rely on supposed facts - hiss of skis) Guiding Questions: Why did this writer facts not actually stated or clearly bring these characters to this place at implied by the story. this time? What is the point? What do D. There is no single way of stating the theme of a story. C. Setting - reflects societal shifts towards greater E. Any statement that reduces a theme 1. Time - set in the past mental health awareness to some familiar saying, aphorism, or 2. Trauma Narratives- social and political cliché should be avoided. Do not use "A 2. Place- crosses and mixes national unrest stitch in time saves nine," "You can't traditions and cultures judge a book by its cover, " "Fish and D. Point of View - explores the long-term effects of guests smell in three days," and so on. trauma - A text may have more than one narrator telling the same story, or the - offers perspectives on recovery INTRODUCTION TO CONTEMPORARY same story may be told from shifting D. Globalization and Migration LITERATURE: STORY points of view. 1. Diaspora and Migration Stories- E. Language themes such as displacement, cultural I. Definition of Terms identity, and the challenges of A. Contemporary Literature - emphasizes the context of the story assimilation in a globalized world - postmodernity (1945) through the - reveals the cultural background, social 2. Global Perspectives- addresses current age standing, and inner thoughts and universal themes drawing from diverse motivations cultural backgrounds - modern narrative containing a harsher reality (Lipman, M., 2023) E. Post-colonialism and Decolonization B. Story III. Styles of Contemporary Literature 1. Decolonial Literature- challenges - describes a series of events A. Postmodernism colonial histories and promotes - characterized self-reflexivity, irony decolonial perspectives - either real or imagined - emphasis on fragmentation and - offers new interpretations of history - can be told in various forms; prose, intertextuality and identity. poetry, and drama B. Magical Realism - blends the mundane and the fantastical - maintains the reliable tone of objective V. Contemporary Stories II. Elements or Focus of Literature realistic reporting (Baldick, 2015) A. Thematic Characteristic C. Stream of Consciousness A. Interpretation and Evaluation - pressing issues - represents the flow of thoughts and 1. The Lottery Ticket by Shirley Jackson - platform for exploring relevant social feelings in a character’s mind a. William Empson’s Seven Types of and political debates - either a loose interior monologue or Ambiguity - empowers individuals thoughts in connection to the character’s i. Findings - specific details and recurring patterns actions - The story consists of many shades of that help to reveal the author’s message. D. Social Realism ambiguity B. Genre, Form, and Composition - social issues and marginalized - The story consists of symbolism which 1. Blurring Genres- blending elements communities refers to it being anti-communist, anti- from different genres - depiction of the social reality not as it is capitalist, and anti-religious. - means to address complex social and but as it should be - The town square with its four equal political issues in imaginative ways that E. Historical Fiction sides lends itself to communism. might not be easily contained within a - blending historical events with fictional - The triangle represented by the stool single genre(DeMode Magazine, 2023) elements appears on AMerican money in the form of a pyramid representing capitalism. -encourages authors to experiment with - minimum of 50 years in time (Dukes, - The circle is a symbol of God or religion. new forms and techniques, (McMahon, n.d.) ii. Conclusion 2016) 2. Diverse Theme and Perspective- delve - The lottery is still relevant and even into previously marginalized voices and IV. Concerns of Contemporary Literature more popular today compared to explore topics A. Representation and Identity Jackson’s time. 3. Reality-based stories with strong 1. Intersectionality in Literature- - Ambiguities are clarified by analyzing characters and a believable story- emphasis on complex identities within a the concepts that are encapsulated in happens to real people in real settings multicultural and globalized context the story itself. 2. Authentic Representation- - Jackson, through the story, criticizes the - well-defined, realistic, and highly marginalized communities in literature three pillars of civilized societies: religion, developed characters B. Digital Culture and Technology politics, and economics are created to 4. Speculative Fiction- often explores 1. Literature and Social Media- critique benefit humanity and not to destroy it. themes of technology, magic, and the on the impact of digital technology oh b. Human Rights at Stake: Social and unknown human Political Protest in the Lottery 5. Dystopian Fiction- depicts a future 2. Narrative Innovations- non-linear i. Objective society storytelling and interactive fiction - Explore various human rights issues, 6. Literary Fiction- emphasizes artistic C. Mental Health and Trauma which can be violated even in civilized expression, character development, and 1. Focus on Mental Health- addresses communities. exploration of complex themes topics like anxiety, depression, and ii. Findings trauma - blind acceptance of tradition - sexism and gender roles form and content. b. Jorge Luis Borges - scapegoat mentality a. BACKGROUNDS ✓ Argentinian - normalization of violence > There were various avant-garde trends ✓ Most Influential among Contemporary iii.Conclusion that deviated from the writing that had Poets - The masterpiece prompts society to been produced up until the time the so- Famous works: reassess its blind allegiance to tradition called contemporary poetry first debuted. ✓ The Maker and strive for a more conscious and ✓ For the Six Strings compassionate future. > Contemporary authors were greatly ✓ In Praise for the Shadow - Although Jackson did not witness influenced by this rejuvenation, which c. Gabriel Zaid drastic change in human rights issues affected both the artistic form and the during her lifetime; she was still regarded contents. Cubism, Surrealism, and ✓ Born in Mexico and with works in all as one of the early voices to protest Expressionism are three of these modalities inhumanity in any form. currents; each has its own characteristics Famous works: yet they are all unified in the quest for a ✓ Follow-up new aesthetic language. ✓ Nudist Field 2. Amigo Brothers by Piri Thomas b. ORIGINS ✓ Mortal Practice (Hasabelnaby, 2012) > The second half of the 20th century d. Damaso Alonso Theme : Friendship and loyalty seems to be when this poetry started, ✓ Spanish a. Heroism Redefined notwithstanding some regional ✓ Author of A Cultiminating Work i. Findings variations. Famous works: - departure from the traditional ✓ Children of Wrath spotlighting of a single hero in boxing > The catastrophic fallout from the stories and movies Second World War has left its impact in ✓ Dark News ii. Conclusion the years since, and art reacts to this ✓ Man and God setting. As a result, poetry in these e. Octavio Paz - Heroism is redefined as rejection of formative years takes on an existential ✓ Mexican and Nobel Prize for competition in favor of friendship. topic that prioritizes nothingness and the Literature - rewriting of earlier cultural notions of absurdity of life. Famous works: champions being exploitative, > The authors and many academics ✓ Tree Inside manipulative and lack of moral scruples believe that modernist Rubén Daro b. Denouncing of Boxing serves as a frontier for contemporary ✓ Past Clear i. Findings poetry because of the modifications he - Boxing is renamed as butchery. made to what was done in the 19th - Boxing is redacted of its art to an act of century. A further example of the ✓ Salamander “blasting” an opponent. modern era of this art's development is ✓ Sun Stone ii. Conclusion the Chilean Vicente Huidobro. f. Jose F. Lacaba - contests are pejoratively as harmful to c. 1960’s ✓ A well-respected Filipino poet, interpersonal relations > With the development of new poets journalist, and screenwriter who has - competition and friendship may not and the distancing of the global struggle, made significant contributions to always appear at odd ends contemporary poetry's focus has contemporary Philippine literature, - we have to work hard and sometimes changed since the 1950s. focusing mainly on poetry. compete with others > A portion of the authors start to create ✓ Lacaba is a renowned poet known for poetry that is socially conscious. Gabriel his collection of poems called "Days of Celaya and Blas de Otero stand out Disquiet, Nights of Rage," which vividly among them. depicts the turbulent period of Martial INTRODUCTION TO CONTEMPORARY Law in the Philippines, the collection LITERATURE: POETRY > In the meantime, another trend captures the anger and resistance felt by attempts to write about people, their many Filipinos during that time. A. HISTORY OF CONTEMPORARY worries, and ideals without having any POETRY connection to politics. Contemporary Poetry is written in the ELEMENTS OF POETRY: most recent decades of history and is considered contemporary poetry. Some a. SPEAKER - The person who is experts date their beginning to around FAMOUS PERSONALITIES: addressing the reader. Sometimes, the 100 years ago, while the majority date speaker is the poet, who addresses the their origin to roughly 1950 when World A. CONTEMPORARY POET reader directly or another person. The War II came to a conclusion. Everyone a. Pablo Neruda poet reveals the identity of the speaker may agree that it picks up some of the ✓ Chilean in various ways. Choice of words, focus various pioneering inspirations that have ✓ Great Latin American Poets of History of attention and attitudes will indicate generally shaped poetry and art since the the age, perspective, and identity of the early 20th century. The connection with speaker. these avant-garde movements is usually Famous works: b. CONTENT- The subject of the poem. It acknowledged, whether it was made to ✓ General Song answers the question “what?” What is avoid them or by collecting some of their ✓ The Verses of the Captain the poem all about? What happens in ✓ Estravagario the poem? c. MOOD- Reader’s feelings. from other stanzas. They are the - portrayal of fictional or non-fictional d. TONE- Refers to the writer's attitude equivalent of a paragraph in an essay. events towards the subject of a literary work as t. WORD ORDER- Author varies word indicated in the work itself. order for meaning and effect. - way of creating or recreating a - Tone may indicate an attitude of joy, u. ONOMATOPOEIA- It is where the situation sadness,solemnity, silliness, frustration, sounds of words suggest their meaning, - typically called plays anger, puzzlement, etc. such as in the words “buzz,” “crackle,” - an articulation of reality through and “sizzle.” impersonation or re-enactment e. SYMBOLISM- When something represents or stands for something else. - creators are known as “playwrights” or - Symbols are objects, places, beings, or CONTEMPORARY POETRY VS. “dramatists" actions that operate on two separate TRADITIONAL CONTEMPORARY: - The term drama can be used at three levels of meaning. different levels: Performance, f. METER- It is the rhythmic pattern a. Poetry styles with a lengthy history composition, and Branch of literature created in a line of verse. and a predetermined framework are B. Characteristics / Features of Drama referred to as traditional poetry. - Meant to be performed rather than g. RHYME- The rhyme or beat Although rhyme is frequently used in read established by a poem traditional poems, it is only one of - Emphasis on dialogue, character, and several possible structural aspects. stage direction h. DICTION- The poet’s choice of words. Depending on the genre, the poem can - May include elements of music, dance, The poet chooses each word carefully so also have to have a given number of lines art, poetry, and prose that both its meaning and sound or syllables, deal with a particular subject -Usually fictional, though may include contribute to the tone and feeling of the matter, or have a set rhythm or meter. nonfiction or be inspired by true stories poem. Traditional poetry must carefully follow a or historical events i. FIGURATIVE LANGUAGE- Simile, specific format. * Realism and Naturalism - Many metaphor, hyperbole, idiom, and b. Modern or contemporary poetry is far contemporary dramas focus on realistic personification. more adaptable and does not adhere to portrayals of everyday life and complex j. CONNOTATION- Talks about word a certain form than traditional poetry. It characters association. is usually written in free verse, which has * Diverse Themes - Topics often include k. REPETITION- Author repeats a word, no set rhyme scheme or rhythm. More is identity, race, gender, politics, line, or phrase for emphasis frequently used in modern poetry. andtechnology. current readers are able to understand * Innovative Structures - Playwrights l. DENOTATION- It is the dictionary the wording. Also, compared to some experiment with non-linear narratives, meaning. older poems, such as ballads or epic fragmented structures, and multimedia m. ALLITERATION- The repetition poetry, contemporary poems are elements. especially of consonant sounds in words frequently shorter. * Strong Character Development - occurring in close proximity. c. Contemporary poetry frequently uses Emphasis on deep, multi-dimensional n. IMAGERY- It is the use of words to free verse, which means they don't have characters and their psychological convey vivid, concrete sensory a set format. Traditional poetry, in complexities. experiences. contrast, frequently follows rigid - The word "image" suggests most guidelines that specify the poem's length, Notable Contemporary Plays obviously a visual image, a picture, but number of syllables, rhythm, and meter. 1. “Anna in the Tropics” by Nilo Cruz imagery also includes vivid sensory (2003): Set in a Florida cigar factory, this experiences of smell, sound, touch, and *Contemporary Poem: play explores the lives of Cuban taste as well. immigrants and won the Pulitzer Prize. o. IRONY-It takes many forms. Most In This Place (An American Lyric) 2. “Almost, Maine” by John Cariani basically, irony is a figure of speech in (2004): A series of vignettes about love which actual intent is expressed through BY: Amanda Gorman and loss in a small town. words that carry the opposite meaning. 3. “August: Osage County” by Tracy Letts ELEMENTS OF POETRY THAT IS PRESENT (2007): A dark comedy about a p. THEME- It talks about the central idea, IN THE POEM (IN THIS PLACE): FORM - dysfunctional family in Oklahoma. the thought behind what the poet wants The poem is considered a lyric poem. - It to convey.A theme can be anything from expresses strong thoughts and feelings, a description of a person or thing to a focusing on the speaker's observations C. HISTORY OF CONTEMPORARY thought or even a story. In short, a and reflections on various places and DRAMA theme stands for whatever the poem is events in America. > Drama has a unique nature. It has about. developed and been improved upon by q. ASSONANCE-Involves the repetition of various dramatists over the ages. similar vowel sounds in syllables ending with different consonant sounds. INTRODUCTION TO CONTEMPORARY > Influenced by the developments and r. FORM- Refers to various sets of DRAMA changes in the world. "rules'' followed by poems of certain 1. PREHISTORIC PERIOD types. A. Definition of Drama - (2000 B.C. ) The earliest recorded s. STANZA- A series of lines grouped - came from the Greek verb “dran” which theatrical event were the passionplays of together and separated by an empty line means ‘to act’ or to perform. Ancient Egypt. - The story of the god Osiris was significant literary and social influence, needs of the actors and the viewers. performed annually at festivals. especially in Sicily and Magna Graecia. * William Shakespeare stood out as the - (1868 B.C.) Abydos Passion Play acted * New Comedy focused on everyday greatest among the dramatists of the out as a drama by Ikhernofret. situations and characters, building on period. Major contribution was the lively established theatrical devices like Elizabethan stage. prologues and ex machina endings. It Important Facts During Renaissance 2. GREEK PERIOD shifted away from satire and Period - Most philologists agree that Greek mythological themes, emphasizing love theater evolved from staged religious and everyday concerns, with gods - In the 15th century, Aristotle's Poetics, choral performances, during celebrations appearing as abstractions rather than which defined the classical genres of to Dionysus (Greekgodofwine and active characters. Three playwrights are tragedy and comedy, came to light. fertility.) well known from this period: Menander, - (534/531 B.C.) Great Dionysia, also Philemon, and Diphilus. - (1515) The first important Renaissance called City Dionysia, is an ancient tragedy was Giangiorgio Trissino's dramatic festival in which tragedy, Sophonisba. comedy, and satyric drama originated; it 3. ROMAN PERIOD - The discovery of Roman comedy was held in Athens in March in honor of inspired Renaissance dramatists to write Dionysus, the god of wine. - Ancient Roman theater was heavily similar works. - Two dramatic genres to emerge from influenced by the Greek tradition.The this era of Greek theaterwere tragedy Roman dramatists tended to adapt and - (1506) The first significant comedy and comedy, both of which rose to translate from the Greek as writers in written in Italian was Calandria by prominence around 500-490 BCE. other literary genres did. Bernardo Dovizi da Bibbiena. a. Greek Tragedy- Rooted in * (254-184 B.C.)Plautus, Best known as - In 16th-century Italy, authors began to mythological themes from ancient epics the Roman comedymaster,created over combine aspects of Roman comedy and and performed through a series of actor- a hundred plays. tragedy with elements of the liturgical driven narratives.They follow a structure * (195-159 BC) Terence, a slave of a drama. starting with a prologue, followedby a Roman senator, craftedcomedies which paraodos, episodes intersped with were primarily Roman-styled adaptations stasima (choral interludes), and of GreekplaysbyHellenistic writers such 6. MODERN PERIOD concludes with an exodus. as Menander. - During this period, drama was not only * 3 Prominent Tragedians of this Era * (4 BC-65 AD) Séneca, Lucius Annaeus performed live on stage but also enjoyed 1. Aeschylus, often called the father of Seneca was aplaywright,a lawyer and a through the mediums of radio, television, tragedy, was the first to formalize the Roman senator. He served under the and cinema. rules of tragic drama and is credited sadisticEmperorCaligula. - 1830’s - The idea of wireless withinventing the trilogy, a series of * (54 AD) “Phaedra” is a play by communication predates the discovery three interconnected plays performed philosopher and dramatist Seneca. of"radio" with experiments in "wireless sequentially. telegraphy" via inductive and capacitive 2. Sophocles revolutionized Greek induction and transmission through the tragedy by introducing athird actor, 4. MEDIEVAL PERIOD ground, water, andeven train tracks. expanding the chorus to 15 members, breaking the trilogy format, and - In the Middle Ages, theater was reborn - 1923/1924 Radio Drama incorporating scenery,shifting focus to as liturgical dramas, writteninLatin and character development and staged dealing with Bible stories and performed - 927/1928 Electronic television was first conflict while leaving events more open by priestsor churchmembers. successfully demonstrated in San to audience interpretation. - (1300 AD). One of the earliest surviving Francisco. The very first television drama 3. Euripides set himself apart by secular plays in EnglishisTheInterlude of was filmed in Schenectady. It was a little experimenting withtheatrical techniques the Student and the Girl. play called The Queen's Messenger, and focusing on emotional - The most famous examples of aBritish drama with more special effects depth,including using monologues Medieval plays are the technicians then there were4 television instead of prologues and deus ex Englishcycledramas, the York Mystery sets in the Capital Region. The play itself machina for sudden plot resolutions. Plays, the Chester Mystery Plays, was a melodrama by Irish playwright J. b. Greek Comedy theWakefield Mystery Plays, as well as Hartley Manners. * Old Comedy. Aristophanes, a key figure the morality play, Everyman(Late15th in Old Comedy, is renowned for his Century). political satire, sexual and scatological Important Facts During Modern Period humor, and sharp critiques of prominent figures and institutions, with his plays 5.RENAISSANCE PERIOD remaining definitive examples of the - The modern period and its drama were comedy genre. - Theatrical activities, particularly shaped by world-changingforces, such as * Middle Comedy differed from Old comedies, flourished in Italy, England industrial-technological revolution, Comedy in its diminished use of the and Spain during the 16th and early 17th democraticrevolutions. chorus and a shift from personal and century. - The realistic period initiated with plays political satire to more general and - The stage during the early part of this focused on contemporary, dayto-day literary ridicule.The period favored period was simple; however, at the latter themes. mythological burlesque and the useof part of the period, more elaborate * Symbolism (late 19th century) stock characters. Middle Comedy had theaters wereconstructedto satisfy the expanded into what might becalledantirealist theatre. - also called dramatis personae b. Farce- broad comedy -,A focus on traditional aesthetic values, - presents protagonists and antagonists - depends less on a narrative storyline such as poetry, imagery, and profundity whose personalities, temper of mind, and more on physical humor, sight gags, would reflect the importance of purity of and morality trigger conflicts, silly jokes vision over observation, abstraction and developments, changes, problems, enlargement over the mundane and actions, and reactions. * Parts of a farcical comedy ordinary. 3. CONFLICT: > Exaggerated humor - Since struggle is the essence of drama, > Slapstick gags we find a clash of wills, or moral, > Nonsensical storyline D. ELEMENTS OF THE DRAMA: psychological, and sociological conflicts. > Improbable events 1. PLOT: Discovery and reversal are results of > One or two settings a. the "soul of drama" (Aristotle), is conflicts. Discovery fulfills our > Humor is often crude and more tightly knit in the drama than in the expectations of events. A development inappropriate novel. of conflict is reversal where events or b. Nothing extraneous should occur as in actions make a turnabout because of a fact, classical tragedy insisted on unities discovery and this leads to shock or of time, place, and action. surprise. c. Opera- The characters sing each line c. The plot is divided into: rather than speaking > Exposition- (infor-mation regarding - The entire production is set to a musical antecedent action, characters, their 4. IRONY score relationships, and the initial situation); * Attributes: inciting action which moves toward a - is an important element of the dramas > Musical soliloquies known as arias point in all literature. It arises from a > Plot-driving passages that can be non- > Rising action which is part of the recognition of a discrepancy between the melodic complication; crisis or turning point, expected and actual, the apparent and > A libretto (text) set to a musical score where choices and decisions lead to the the real. Ironic perception of the > Subject matter that is tragic, comic, or inevitable dramatic situation heightens tension and melodramatic > Falling action in which incidents follow suspense and is essentially what drama is > Can incorporate an element of dance, from the turning point without all about. but typically relies on singing diminution of the intensity performances > Denouement or resolution which > Elaborate sets, costume design, and clarifies and relaxes the tension. 5. LANGUAGE AND IDEA: production Someone calls it the bridge to reality. d. Structure of theatrical drama - Some plays emphasize theme and idea * One Act Play- tends to focus on a and quality of language, or attempt to d. Melodrama- tells a serious story in single theme or situation unfoldingover present a thesis. Hence, the dramatic serious ways the course of the play situation is an illustration of ideas * Attributes: - structure of the play is concise and although the story which may be taken - Character tropes such as heroes, close-knit from the Bible, myth, legend, or history heroines, villains, mentors, etc. - include a concise introduction to may be familiar to the audience. - Sweeping stories of romance or serious characters and setting, a topics - rising action that leads to a dramatic - Larger-than-life plots and climax, and a denouement that wraps up 6. SPECTACLE OR THEATER circumstances (or very small stories told the narrative. CONVENTIONS: in big ways) * Five Act Play - Exaggerated character reactions - framework for organizing story - are part of the total appeal of the - Clear literary themes - showcase characters overcoming drama which shows the relationships of - Flawed characters who must overcome challenges throughout the story script, actor, audience, author, producer, their faults in order to reach their - Used by the filmmakers to outline a society, genre, stage, and theater. resolution script - Ending that is sometimes happy, sometimes unhappy - It used by the theater professionals to 7. Types of Drama plan plays andother stage productions a. Comedy- Humor plays * Elements of comedy e. Musical drama-;tempts to put opera - to plan scripted tales of all kinds – > Lighthearted tone and musical drama into the same movie scripts, television scripts and plays. > Clever wordplay or turns of phrase category * Three Act Play * Attributes: - Act 1: established characters and > Serious topics addressed in a - Periods of standard storyline setting, and includes an inciting incident. humorous way interrupted by songs - Act 2: confrontation - Characters often singing in unison to - Act 3: the climax and denouement > Comical misunderstandings express feelings - Songs as plot-changing devices > Happy ending - Dramatic or comedic storylines > Silly, offbeat characters - Catchy, distinctive musical score 2. CHARACTER > Often ends - Often lots of singing and dancing f. Tragedy - sad ending * Attributes: - A protagonist with a tragic flaw - Circumstances that quickly get out of control – and not ina funny way - Darker themes than a melodrama, such as human suffering, hatred, or poverty - Features the downfall of a previously heroic or well-liked character - An irredeemable ending that results in one or more characters’ deaths - Reaches a tragic catharsis g. Tragicomedy- combined elements of a comedy and a tragedy - more complex than a drama with a few jokes, or a comedy with a serious scene * Attributes: -,A serious storyline told in a humorous, sardonic, or snide way - Tragically flawed characters whose actions don’t result in death - An ambiguous theme - Broad characters who act in classically comical ways - Neither a happy nor a comic ending II. Techniques for Reading Drama * Two Aspects: 1. Drama as script- The script is the dialogue and stage directions for actors and stage technicians. > advantage: we can be our own directors, It lends to appreciation of literature, as it can be read leisurely and deliberately. 2. Drama as play- The play's the script coming to life and is a direc- tor's interpretation of the script. - The play presentation is heightened living and offers immediacy, vividness, and intensity. - The statement can have different implications depending upon stresses, tone of voice, and gesture which tell a story through action. III.Pygmalion and Major Barbara by George Bernard Shaw