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American literary regionalism, often used interchangeably with the term "local color", is a style or genre of writing in the United States that gained popularity in the mid-to-late 19th century and early 20th century.
In literature regionalism refers to fiction or poetry that focuses on specific features, such as dialect, customs, history, and landscape, of a particular region (also called "local colour"). The setting is particularly important in regional literature and the "locale is likely to be rural and/or provincial."
Migrant literature focuses on the social contexts in the migrants' country of origin which prompt them to leave, on the experience of migration itself, on the mixed reception which they may receive in the country of arrival, on experiences of racism and hostility, and on the sense of rootlessness and the search for identity which can result from displacement and cultural diversity.
Taiwan nativist literature uses literary realism as its main narrative to depict people, events and subjects that happen in Taiwan, aiming at reflecting the particularity of the local society. [1] The nativist novels usually depict the struggles for existence and predicaments of identity of the Taiwanese people with a humanistic tone.
Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and their experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author, content, or form of the work.
To Espen Aarseth, cybertext is not a genre in itself; in order to classify traditions, literary genres and aesthetic value, texts should be examined at a more local level. [5] To Aarseth, hypertext fiction is a kind of ergodic literature: In ergodic literature, nontrivial effort is required to allow the reader to traverse the text.
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In narratology, focalisation is the perspective through which a narrative is presented. [1] Coined by French narrative theorist Gérard Genette, his definition distinguishes between internal focalisation (first-person) and external focalisation (third-person, fixed on the actions of and environments around a character), with zero focalisation representing an omnisicent narrator. [2]