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A 17th-century English Baroque school using extended conceit, often (though not always) about religion [18] [19] John Donne, George Herbert, Andrew Marvell: Cavalier Poets: 17th-century English Baroque royalist poets, writing primarily about courtly love, called Sons of Ben (after Ben Jonson) [20] Richard Lovelace, William Davenant: Euphuism
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Dante Meditating on the Divine Comedy.Jean-Jacques Feuchère, 1843. Literary fiction, mainstream fiction, non-genre fiction, serious fiction, [1] high literature, [2] artistic literature, [2] and sometimes just literature, [2] are labels that, in the book trade, refer to market novels that do not fit neatly into an established genre (see genre fiction) or, otherwise, refer to novels that are ...
Middle grade literature is literature intended for children between the ages of 8 and 12. While these books are sometimes grouped together with books for other age bands and collectively called "children's books", middle grade is distinct from picture books, early or easy readers, and chapter books, all of which are intended for younger audiences.
English literature is literature written in the English language from the English-speaking world. The English language has developed over more than 1,400 years. [1] The earliest forms of English, a set of Anglo-Frisian dialects brought to Great Britain by Anglo-Saxon settlers in the fifth century, are called Old English.
The novel is told from the point of view of a fictional Kyrgyz artist, Seit, who tells the story by looking back on his childhood. [4] The story recounts the love between his new sister-in-law Jamilya and a local crippled young man, Daniyar, while Jamilya's husband, Sadyk, is "away at the front" (as a Soviet soldier during World War II). [4]
With this in mind, new historicism is not "new". Many of the critiques that existed between the 1920s and the 1950s also focused on literature's historical content. These critics based their assumptions of literature on the connection between texts and their historical contexts (Murfin & Supriya 1998).
In The Critical Difference (1980), Johnson argues that any model of difference as a polarized difference "between entities (prose and poetry, man and woman, literature and theory, guilt and innocence)" is necessarily founded upon "a repression of differences within entities" (pp. x-xi). In this book, Johnson explores how the unknown and the ...