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Writer

Writer

The term writer can apply to anyone who creates a written work, but the word more usually designates those who write creatively or professionally, or those who have written in many different forms. Skilled writers demonstrate skills in using language to portray ideas and images, whether producing fiction or non-fiction. A writer may compose in many different forms, including (but not limited to): poetry, prose, music. Accordingly, a writer in specialist mode may rank as a poet, novelist, composer, lyricist, playwright, mythographer, journalist, film scriptwriter, etc. (See also: creative writing, technical writing and academic papers). Writers' output frequently contributes to the cultural content of a society, and that society may value its writerly corpus -- or literature -- as an art much like the visual arts (see painting, sculpture, photography), music, craft and performance art (see: drama, theatre, opera, musical).

Alternative uses of "writer"

Practitioners within some specialized fields also use the term "writer" to describe their arts. For instance, advertising creatives, gag-writers and graffiti artists also refer to themselves as "writers." In these contexts, "writer" may be considered an alternative use of the term, rather than describing a so-called "literary" or "serious" writer as discussed above. A "writer" can also be mechanic. For example, court reporters often refer to their stenotype machine as a writer. Similarly, some word processors are called "writer", such as OpenOffice.org Writer and Nisus Writer.

External links

- [http://www.wga.org Writers Guild of America, west]
- [http://www.wgae.org Writers Guild of America, east]
- [http://www.writersguild.org.uk Writers' Guild of Great Britain]
- [http://www.writersguildofcanada.com/ Writers' Guild of Canada]
- [http://www.internationalpen.org.uk/ International PEN]
- [http://www.authorssociety.org/ Authors Society.org]
- [http://www.Writing.Com/ Writers] Category:Media occupations Category:Literature ja:著作家 ko:작가 th:นักเขียน

Writing

Writing may refer to two activities: the inscribing of characters on a medium, with the intention of forming words and other constructs that represent language or record information, and the creation of material to be conveyed through written language. (There are some exceptions; for example, the use of a typewriter to record language is generally called typing, rather than writing.) Writing refers to both activities equally, and both activities may often occur simultaneously.

Methods for recording information

Logographies

A logogram is a written character which represents a word or morpheme. The vast array of logograms needed to write a language, and the many years required to learn them, are the major disadvantage of the logographic systems over alphabetic systems. However, the efficiency of reading logographic writing once it is learned is a major advantage. No writing system is wholly logographic. All have phonetic components as well as logograms ("logosyllabic" components in the case of Chinese, cuneiform, and Mayan, where a glyph may stand for a morpheme, a syllable, or both; "logoconsonantal" in the case of hieroglyphs), and many have an ideographic component (Chinese "radicals", hieroglyphic "determiners".) For example, in Mayan, the glyph for "fin", pronounced ka, was used to represent the syllable ka whenever clarification was needed. However, such phonetic elements complement the logographic elements, rather than vice versa. The main logographic system in use today is Chinese, used with some modification for various languages of China, Japanese, and, to a lesser extent, Korean in South Korea. Another is the classical Yi script.
Syllabaries
A syllabary is a set of written symbols that represent (or approximate) syllables. A glyph in a syllabary typically represents a consonant followed by a vowel, or just a vowel alone, though in some scripts more complex syllables (such as consonant-vowel-consonant, or consonant-consonant-vowel) may have dedicated glyphs. Phonetically related syllables are not so indicated in the script. For instance, the syllable ka may look nothing like the syllable ki, nor will syllables with the same vowels be similar. Syllabaries are best suited to languages with relatively simple syllable structure, such as Japanese. Other languages that use syllabic writing include the Linear B script for Mycenaean Greek; Cherokee; Ndjuka, an English-based creole of Surinam; and the Vai script of Liberia. Most logographic systems have a strong syllabic component.
Alphabets
An alphabet is a small set of symbols, each of which roughly represents or historically represented a phoneme of the language. In a perfectly phonological alphabet, the phonemes and letters would correspond perfectly in two directions: a writer could predict the spelling of a word given its pronunciation, and a speaker could predict the pronunciation of a word given its spelling. As languages often evolve independently of their writing systems, and writing systems have been borrowed for languages they were not designed for, the degree to which letters of an alphabet correspond to phonemes of a language varies greatly from one language to another and even within a single language. In most of the alphabets of the Mid-East, only consonants are indicated, or vowels may be indicated with optional diacritics. Such systems are called abjads. In other, vowels are indicated through diacritics or modification of the shape of the consonant. These are called abugidas. Some abugidas, such as Ethiopic and Cree, are learned by children as syllabaries, and are often called "syllabics". However, unlike true syllabaries, there is not an independent glyph for each syllable. Sometimes the term "alphabet" is restricted to systems with separate letters for consonants and vowels, such as the Latin alphabet.
Featural scripts
A featural script notates the building blocks of the phonemes that make up a language. For instance, all sounds pronounced with the lips ("labial" sounds) may have some element in common. In the Latin alphabet, this is accidentally the case with the letters b and p; however, labial m is completely dissimilar, and the similar-looking q is not labial. In Korean Hangul, however, all four labial consonants are based on the same basic element. However, in practice, Korean is learned by children as an ordinary alphabet, and the featural elements tend to pass unnoticed. Another featural script is SignWriting, the most popular writing system for many sign languages, where the shapes and movements of the hands and face are represented iconically. Featural scripts are also common in fictional or invented systems, such as Tolkien's Tengwar.
Historical significance of writing systems
Historians draw a distinction between prehistory and history, with history defined by the advent of writing. The cave paintings and petroglyphs of prehistoric peoples can be considered precursors of writing, but are not considered writing because they did not represent language directly. Writing systems always develop and change based on the needs of the people who use them. Sometimes the shape, orientation and meaning of individual signs also changes over time. By tracing the development of a script it is possible to learn about the needs of the people who used the script as well as how it changed over time.
Tools
(see methods of representing text)
Writing in Historical Cultures

Mesopotamia
The original Mesopotamian writing system was initially derived from a system of clay tokens used to represent commodities. By the end of the 4th millennium BC, this had evolved into a method of keeping accounts, using imprints of a wedge-shaped stylus (hence the term cuneiform), atfirst only for numbers, and finally a general purpose writing system, initially used to represent Sumerian. This writing system was originally a logographic writing system, but had begun to evolve phonetic elements by the 29th century BC. By the 26th century BC, this script had been adapted to another Mesopotamian language, Akkadian, and from there to others such as Hurrian, and Hittite. Scripts similar in appearance to this writing system include those for Ugaritic and Old Persian.
Egypt
The earliest known hieroglyphic inscriptions are the Narmer Palette, dating to c.3200 BC, and several recent discoveries that may be slightly older, though the glyphs were based on a much older artistic tradition. The hieroglyphic script was logographic with phonetic adjuncts that included an effective alphabet. Writing was very important in maintaining the Egyptian empire, and literacy was concentrated among an educated elite of scribes. Only people from certain backgrounds were allowed to train to become scribes, in the service of temple, pharaonic, and military authorities. The hieroglyph system was always difficult to learn, but in later centuries was purposefully made even more so, as this preserved the scribes' status. The world's oldest known alphabet was developed in central Egypt around 2000 BC from a hieroglyphic prototype, and over the next 500 years spread to Palestine and eventually to the rest of the world.
Phoenician writing system and descendents
The Phoenician writing system was adapted from the Proto-Caananite script in around the 11th century BC, which in turn borrowed ideas from Egyptian hieroglyphics. This writing system was an abjad - that is, a writing system in which only consonants are represented. This script was adapted by the Greeks, who adapted certain consonantal signs to represent their vowels. This alphabet in turn was adapted by various peoples to write their own language, resulting in the Etruscan alphabet, and its own descendents, such as the Latin alphabet and Runes. Other descendents from the Greek alphabet include the Cyrillic alphabet, used to write Russian, among others. The Phoenician system was also adapted into the Aramaic script, from which the Hebrew script and also that of Arabic are descended.
China
In China historians have found out a lot about the early Chinese dynasties from the written documents left behind. From the Shang Dynasty most of this writing has survived on bones or bronze implements. Markings on turtle shells have been carbon-dated to around 1,500 BC. Historians have found that the type of media used had an effect on what the writing was documenting and how it was used.
Indus Valley
The Indus Valley script is one of the most fascinating and mysterious aspects of ancient Indian culture as it has not yet been deciphered. Although we have many example of the Indus script, without true understanding of how the script works and what the inscriptions say, it is impossible to understand the importance of writing in the pre-Indo-European Harappan Civilization.
Elsewhere
Many other systems have been developed independently, e.g. the complex Mayan writing; Etruscan is still not deciphered despite a fairly large corpus of material (mainly Latin and Greek).
Creation of text or information

Creativity
In order to write a creative essay or short story, there are several tools that you can employ: dialogue (conversation and your thoughts) sensory imagery (the five senses and your feelings) dialect concrete details (as opposed to abstract ideas) literary devices (such as similes, metaphors, personification, hyperbole, and understatement)
Author

Critiques
Writers will often search out others to evaluate or critique their work. This can give the writer a better product in the end. To this end, many writers join writing circles, often found at local libraries or bookstores. With the evolution of the internet, writing circles have started to go [http://www.dragonfly-publishing.com/members/index.php online].
See also

- author
- boustrophedon text
- calligraphy
- communication
- creative writing
- decipherment
- interactive fiction
- linguistics
- literacy
- manuscript
- orthography
- pencil
- printing
- publishing
- speech
- graphonomics
- word processing
- writer
- writing slate
- writing systems
- List of writers' conferences
Further reading

- A History of Writing: From Hieroglyph to Multimedia, edited by Anne-Marie Christin, [http://www.flammarion.com/groupe/ Flammarion] (in French, hardcover: 408 pages, 2002, ISBN 2080108875)
- [http://www.lichtensteiger.de/methoden.html Das "Anrennen gegen die Grenzen der Sprache" Diskussion mit Roland Barthes, André Breton, Gilles Deleuze & Raymond Federman] by Ralph Lichtensteiger
- [http://www.authorssociety.org/ By writers for writers Authors Society.org]
- [http://www.ancientscripts.com/ws.html Origins of writing on AncientScripts.com]
- [http://www.delmar.edu/engl/instruct/stomlin/1301int/lessons/language/history.htm History of Writing]
- [http://www.writing.com/ Writing.Com: Online Writing]: A site for writers to exchange feedback ;ERIC Digests
- [http://www.ericdigests.org/2001-3/writing.htm Writing Instruction: Current Practices in the Classroom]
- [http://www.ericdigests.org/2001-3/development.htm Writing Development]
- [http://www.ericdigests.org/2001-3/views.htm Writing Instruction: Changing Views over the Years]
- ja:筆記 simple:Writing

Opus

Opus is a Latin word for work. The plural of opus is opera. It is used in many fields, notably in architecture and in music.
- In music, pieces of music by composers are given opus numbers, which generally run in order of publication. Unpublished compositions often are given WoO numbers (Werke ohne Opus, German for works without opus).
- In architecture, it specifically describes a technique or a method or a style of connecting building elements, following the studies on Roman architecture. Roman building styles are commonly classified as:
- Opus incertum
- Opus testaceum (also called Opus latericium)
- Opus caementicium
- Opus reticulatum (also called Opus certum)
- Opus siliceum
- Opus quadratum
- Opus vittatum
- Opus mixtum
- Opus spicatum
- Opus alexandrinum
- Opus Dei (God's work) is a conservative Roman Catholic organization founded in 1928.
- Opus the penguin is a character in various comic strips by Berkeley Breathed.
- Opus is a comic strip by Berkeley Breathed.
- Opus is an Austrian pop-rock group
- Directory Opus is a file manager originally for the Amiga computer and now for Windows.
- A "magnum opus" (or "opus magnum") is a great work or, more commonly, the greatest work of a person. Magnum is Latin for great.
- Opus is an ancient Greek city of Eastern Locris, on the coast of mainland Greece across from Euboea
- Opus Pistorum is a novel by Henry Miller
- Opus Pro and Opus Presenter are two programs made by Digital Workshop.

Language

A language is a system of symbols, generally known as lexemes and the rules by which they are manipulated. The word language is also used to refer to the whole phenomenon of language, i.e., the common properties of languages. Though language is commonly used for communication, it is not synonymous with it. Human language is a natural phenomenon, and language learning is instinctive in childhood. In their natural form, human languages use patterns of sound or gesture for the symbols in order to communicate with others through the senses. Though there are thousands of human languages, they all share a number of properties from which there are no known deviations. Humans have also invented (or arguably in some cases discovered) many other languages, including constructed human languages such as Esperanto or Klingon, programming languages such as Python or Ruby, and various mathematical formalisms. These languages are not restricted to the properties shared by natural human languages.

Properties of language

Languages are not just sets of symbols. They also contain a grammar, or system of rules, used to manipulate the symbols. While a set of symbols may be used for expression or communication, it is primitive and relatively unexpressive, because there are no clear or regular relationships between the symbols. Because a language also has a grammar, it can manipulate its symbols to express clear and regular relationships between them. For example, imagine going on a walk with a person who only knew individual symbols, or words. If you saw a dog, he might say, "Dog scare" or "Scare Dog". Although any English speaker would have some notion of what he was talking about, the relationship between the words is unclear. Is he scared of dogs? Or just that dog? Or does he want to scare the dog off? Does he think the dog is scared? But if you respond, "I’m not scared of dogs," the relationship between dog and scare is quite apparent and hence the meaning of the utterance. Another important property of language is the arbitrariness of the symbols. Any symbol can be mapped onto any concept (or even onto one of the rules of the grammar). For instance, there is nothing about the Spanish word nada itself that forces Spanish speakers to use it to mean nothing. That is the meaning all Spanish speakers have memorized for that sound pattern. But for Croatian speakers nada means hope. However, it must be understood that just because in principle the symbols are arbitrary does not mean that a language cannot have symbols that are iconic of what they stand for. Words such as meow sound similar to what they represent, but they could be replaced with words such as jarn, and as long as everyone memorized the new word, the same concepts could be expressed with it.

Human languages

Human languages are usually referred to as natural languages, and the science studying them is linguistics. Making a principled distinction between one language and another is usually impossible. For example, the boundaries between named language groups are in effect arbitrary due to blending between populations (the dialect continuum). For instance, there are dialects of German very similar to Dutch which are not mutually intelligible with other dialects of (what Germans call) German. Some like to make parallels with biology, where it is not always possible to make a well-defined distinction between one species and the next. In either case, the ultimate difficulty may stem from the interactions between languages and populations. (See Dialect or August Schleicher for a longer discussion.) The concepts of Ausbausprache, Abstandsprache, and Dachsprache are used to make finer distinctions about the degrees of difference between languages or dialects.

Origins of human language

Scientists do not yet agree on when language was first used by humans (or their ancestors). Estimates range from about two million (2,000,000) years ago, during the time of Homo habilis, to as recently as forty thousand (40,000) years ago, during the time of Cro-Magnon man. The nature of speech means that there is almost no data on which to base conclusions on the subject.

Language taxonomy

The classification of natural languages can be performed on the basis of different underlying principles (different closeness notions, respecting different properties and relations between languages); important directions of present classifications are:
- paying attention to the historical evolution of languages results in a genetic classification of languages—which is based on genetic relatedness of languages,
- paying attention to the internal structure of languages (grammar) results in a typological classification of languages—which is based on similarity of one or more components of the language’s grammar across languages,
- and respecting geographical closeness and contacts between language-speaking communities results in areal groupings of languages. The different classifications do not match each other and are not expected to, but the correlation between them is an important point for many linguistic research works. (There is a parallel to the classification of species in biological phylogenetics here: consider monophyletic vs. polyphyletic groups of species.) The task of genetic classification belongs to the field of historical-comparative linguistics, of typological—to linguistic typology. See also: Taxonomy, Taxonomic classification—for the general idea of classification and taxonomies.

Genetic classification

The world’s languages have been grouped into families of languages that are believed to have common ancestors. Some of the major families are the Indo-European languages, the Afro-Asiatic languages, the Austronesian languages, and the Sino-Tibetan languages. The shared features of languages from one family can be due to shared ancestry. (Compare with homology in biology.)

Typological classification

An example of a typological classification is the classification of languages on the basis of the basic order of the verb, the subject and the object in a sentence into several types: SVO, SOV, VSO, and so on, languages. (, for instance, belongs to the SVO language type.) The shared features of languages of one type (= from one typological class) may have arisen completely independently. (Compare with analogy in biology.) Their cooccurence might be due to the universal laws governing the structure of natural languages—language universals.

Areal classification

The following language groupings can serve as some linguistically significant examples of areal linguistic units, or sprachbunds: Balkan linguistic union, or the bigger group of European languages; Caucasian languages. Although the members of each group are not closely genetically related, there is a reason for them to share similar features, namely: their speakers have been in contact for a long time within a common community and the languages converged in the course of the history. These are called areal features. NB. One should be careful about the underlying classification principle for groups of languages which have apparently a geographical name: besides areal linguistic units, the taxa of the genetic classification (language families) are often given names which themselves or parts of which refer to geographical areas.
Constructed languages
One prominent artificial language, called Esperanto, was created by L. L. Zamenhof. It is a compilation of various elements of different languages, and it is intended to be an easy-to-learn language. Another prominent artificial language, called Ido, is intended to be reformed Esperanto. Other constructed languages strive to be more logical than natural languages; a prominent example of this is Lojban. Other writers, such as J. R. R. Tolkien, have created fantasy languages, for literary, artistic, or personal reasons. One of Tolkien’s languages is called Quenya, which is a form of Elvish. It has its own alphabet, and its phonology and syntax are modelled on Finnish. Linguist Mark Okrand has devised Klingon and Vulcan for Star Trek, which have since been developed into full languages.
The study of language
The oldest surviving written grammar for any language is believed to be the Tolkāppiyam (தொல்காப்பியம்), a book on the grammar of the Tamil language, written around 200 BCE by Tolkāppiyar. Its classification of the alphabet into consonants and vowel was a breakthrough. The historical record of the study of language begins in North India with Pāṇini, the 5th century BCE grammarian who formulated 3,959 rules of Sanskrit morphology, known as the (अष्टाध्यायी). grammar is highly systematized and technical. Inherent in its analytic approach are the concepts of the phoneme, the morpheme, and the root; the phoneme was only recognized by Western linguists some two millennia later. In the Middle East, the Persian linguist Sibawayh made a detailed and professional description of Arabic in 760 CE in his monumental work, Al-kitab fi an-nahw (الكتاب في النحو, The Book on Grammar), bringing many linguistic aspects of language to light. In his book he distinguished phonetics from phonology. Later in the West, the success of science, mathematics, and other formal systems in the 20th century led many to attempt a formalization of the study of language as a "semantic code". This resulted in the academic discipline of linguistics, the founding of which is attributed to Ferdinand de Saussure.
Animal (nonhuman) language
While the term animal languages is widely used, most researchers agree that they are not as complex or expressive as human language; a more accurate term is animal communication. Some researchers argue that there are significant differences separating human language from the communication of other animals, and that the underlying principles are not related. In several widely publicised instances, animals have been trained to mimic certain features of human language. For example, chimpanzees and gorillas have been taught hand signs based on American Sign Language; however, they have never been taught its grammar. There was also a case in 2003 of Kanzi, a captive bonobo chimpanzee allegedly independently creating some words to mean certain concepts. While animal communication has debated levels of semantics, it has not been shown to have syntax in the sense that human languages do. Some researchers argue that a continuum exists among the communication methods of all social animals, pointing to the fundamental requirements of group behaviour and the existence of "mirror cells" in primates. This, however, may not be a scientific question, but is perhaps more one of definition. What exactly is the definition of the word "language"? Most researchers agree that, although human and more primitive languages have analogous features, they are not homologous.
Formal languages
Mathematics and computer science use artificial entities called formal languages (including programming languages and markup languages, but also some that are far more theoretical in nature). These often take the form of character strings, produced by some combination of formal grammar and semantics of arbitrary complexity.
See also

- Common phrases in different languages
- Computer-assisted language learning (a historical perspective)
- Deception
- Ethnologue, which provides a fairly complete list of languages, locations, population and genetic affiliation
- Extinct language
- FOXP2 (Language gene)
- ILR scale (defines five levels of language proficiency)
- ISO 639 (2- and 3-letter codes for language names)
- Language education
- Language reform
- Language policy
- Language school
- Linguistic protectionism
- Linguistics basic topics
- List of language academies
- List of languages
- List of official languages
- Naming
- Non-verbal communication
- Non-sexist language
- Official language
- Orthography
- Philology and Historical linguistics
- Philosophy of language
- Profanity
- Psycholinguistics
- Sapir-Whorf Hypothesis
- Slang
- Symbolic communication
- Speech therapy
- Terminology
- Tongue-twister
- Translation
- Whistled language
References

- Crystal, David (1997). The Cambridge Encyclopedia of Language. Cambridge, Cambridge University Press.
- Crystal, David (2001). The Cambridge Encyclopedia of the English Language. Cambridge, Cambridge University Press.
- Katzner, K. (1999). The Languages of the World. New York, Routledge.
- McArthur, T. (1996). The Concise Companion to the English Language. Oxford, Oxford University Press.
- Kandel, Jessel, and Schwartz (1991). Principles of Neural Science. McGraw Hill (esp. p. 1173).
External links

- [http://www.zompist.com/ Mark Rosenfelder’s Metaverse] provides a useful listing of 5000 languages and dialects (grouped by their relationships), where the numbers one to ten in each language may be found
- [http://www.geocities.com/agihard/mohl/mohl_languages.html Museum of Languages]
- The [http://www.ethnologue.com/ Ethnologue], a catalog of the world’s languages
- [http://www.language-capitals.com Language Capitals] Guide to 8 major languages of the world with facts, characteristics and varieties
- [http://www.vistawide.com/languages/ World Languages and Cultures] — Practical information and resources on languages and language learning
- [http://www.georgetown.edu/faculty/ballc/animals/animals.html Animal sounds in different languages]
- [http://www.netz-tipp.de/languages.html Distribution of languages on the Internet]
- [http://classweb.gmu.edu/accent/ Speech accent archive]
- [http://ourworld.compuserve.com/homepages/G_Kunkel/homepage.htm a collection of bird songs] provides many kinds of bird songs
- [http://acp.eugraph.com The Animal Communication Project]
- [http://reference.allrefer.com/encyclopedia/categories/lang.html Language Articles]
- [http://www.primitivism.com/language.htm Language: Origin and Meaning by John Zerzan] Category:Technology als:Sprache zh-min-nan:Gí-giân ko:언어 ms:Bahasa nb:Språk ja:言語 simple:Language th:ภาษา

Non-fiction

Non-fiction is an account or representation of a subject which is presented as fact. This presentation may be accurate or not; that is, it can give either a true or a false account of the subject in question. However, it is generally assumed that the authors of such accounts believe them to be truthful at the time of their composition. Non-fiction is one of the two main divisions in writing, particularly used in libraries, the other being fiction. However, non-fiction need not be written text necessarily, since pictures and film can also purport to present a factual account of a subject. Essays, journals, documentaries, scientific papers, photographs, biographies, textbooks, blueprints, technical documentation, user manuals, diagrams and journalism are all common examples of non-fiction works, and fiction within any of these works is usually regarded as dishonest. Other works can legitimately be either fiction or non-fiction, such as letters, magazine articles, histories, websites, speeches and travelogues. Although they are mostly either one or the other it is not uncommon for there to be a blend of both, particularly non-fiction with a dash of fiction for added spice. The numerous literary and creative devices used within fiction are generally thought inappropriate for use in non-fiction. They are still present particularly in older works but they are often muted so as not to overshadow the information within the work. Simplicity, clarity and directness are some of the most important considerations when producing non-fiction. Audience is important in any artistic or descriptive endeavour but it is perhaps most important in non-fiction. Whereas the motivation for fiction is often simply what entertains the authors themselves, the reasons for producing non-fiction have more to do with informing a readership. Understanding of the potential readers use for the work and their existing knowledge of a subject are both fundamental for effective non-fiction. Despite the truth of non-fiction it is often necessary to persuade the reader to agree with the ideas and so a balanced, coherent and informed argument is also vital. As the word non-fiction is obviously derived from fiction it may be assumed that fiction is the earliest of the two. Cave painting, arguably one of the oldest forms of human expression, could be either a record of what prehistoric man caught on hunting trips or alternately a story expressing what they would like to catch on future occasions. If cave art is ambiguous on this matter, cuneiform inscriptions which hold the earliest writings seem to have been initially for non-fiction. Some of the most important symbols in cuneiform represent goods such as oxen and barley and the earliest texts in existence deal with the buying and selling of these items and other economic matters, although fiction was not far behind. Much of the non-fiction produced throughout history is of a mundane and everyday variety such as records and legal documents which were only ever seen by a few and are of little interest except to the historian. It probably easily outweights fiction in the amount that has been produced but fiction generally has a longer lasting appeal as it is designed for entertainment and even rather mediocre fiction survives a few generations. The non-fiction which transcends its original time tends to be viewed as either exceptionally well made or perfectly embodying the ideas, manners and attitudes of the time it was produced, even if it was not actually created as history. At any one time in history there is the body of non-fiction work which represents the currently accepted truths of the period. Although these non-fiction works may be contradictory they form a corpus which is regularly being altered with better explanations of ideas or with new facts. A good example of this are the non-fiction scientific books and papers which explain the science of the day but are then superceeded by better representations. Textbooks for explaining and teaching the current state of scientific and historical knowledge are regularly updated and manuals for operating new technology are also produced.

Types of non-fiction

- Almanac
- Autobiography
- Biography
- Blueprint
- Creative nonfiction
- Design document
- Diagram
- Diary
- Dictionary
- Documentary film
- Encyclopedia
- Essay
- History
- Journal
- Journalism
- Letter
- Literary criticism
- Memoir
- Philosophy
- Photograph
- Science book
- Scientific paper
- Speech
- Statute
- Textbook
- Travelogue
- User manual
- some Websites Category:Literary genres ja:ノンフィクション

Prose

Prose is writing distinguished from poetry by its greater variety of rhythm and its closer resemblance to the patterns of everyday speech. The word prose comes from the Latin prosa, meaning straightforward. This describes the type of writing that prose embodies, unadorned with obvious stylistic devices. Prose writing is usually adopted for the description of facts or the discussion of ideas. Thus it may be used for newspapers, magazines, novels, encyclopedias, screenplays, films, philosophy, letters, essays, history, biography and many other forms of media. Prose generally lacks the formal structure of meter or rhyme that is often found in poetry. Although some works of prose may happen to contain traces of metrical structure or versification, a conscious blend of the two forms of literature is known as a prose poem. Similarly, poetry with less of the common rules and limitations of verse is known as free verse. Poetry is considered to be artificially developed, "The best words in the best order," whereas prose is thought to be less constructed and more reflective of ordinary speech. Pierre de Ronsard, the French poet said that his training as a poet had proved to him that prose and poetry were mortal enemies. In Molière's play Le Bourgeois Gentilhomme Monsieur Jourdain asks something to be written in neither verse nor prose. A philosophy master says "sir, there is no other way to express oneself than with prose or verse". Jourdain replies "By my faith! For more than forty years I have been speaking prose without knowing anything about it, and I am much obliged to you for having taught me that." The status of prose has changed throughout its history. Much of a society's early literature is written in the form of poetry. Prose was often restricted to mundane and everyday uses such as legal documents and yearly records. When a country's literature produced other forms such as philosophy or history these works expanded the realm of prose, but fiction does not often appear in prose until much later. Poetry is still often regarded as a higher form of literature to prose but the relatively late development of the novel offers competing and often superior examples of prose. Prose was at one time synonymous with dull, unimaginative or laboured writing and the word "prosaic" has developed from prose to mean anything boring. Now the word prose tends to be reserved for particularly well written pieces of literature and even limited to small sections of a larger work even though prose still also means any writing that is not poetry. Prose that aspires to the highest quality but in fact is too elaborate and overblown is called purple prose. Prose varies considerably depending on the purpose of the writing. As prose is often considered to be representative of the patterns of normal speech, many rhetorical devices are used in prose to emphasize points and enliven the writing. Prose which aims to be informative and accurate such as history or journalism usually strives to use the simplest language possible to express its points although this language often needs to get very advanced to describe a difficult issue. Facts are often repeated and reiterated in various ways so that they are understood by a reader but the excessive use of this technique can often make a serious piece of writing seem like a polemic. In fiction prose can flourish and take on many forms. A skilled author can alter how he uses prose throughout a book to suggest different moods and ideas. A thriller often consists of short sentences with "punch" made up of equally short words which suggests very rapid actions and heightens the effect of a very fast moving plot. Conversely, longer sentences are used to slow down the action of a novel and give a panoramic overview of scene. Prose can vary to tell a reader how they should feel about events in a story; fear, humour, uncertainty, or to tell the reader about a character's age, intelligence, opinions or personality although dialogue is often excluded from being thought of as prose. There are many techniques within fiction and the mark of a great author is perhaps their ability to manipulate prose and even invent their own unique prose style to effectively communicate what they wish to say. When a poem is translated from one language into another, particularly if it is an epic poem, the poem is often converted into prose. This is for two main reasons: not only does it allow the reader to understand the plot more easily but also the translator is considered to be exercising less unwelcome creative input if writing in prose. A translation should be an unchanged representation of the sense of the original but to impose the rhyme and meter structures of a different language is likely to significantly alter the poem.

External links

- [http://www.everyauthor.com/ EveryAuthor.com - online books and prose forums for writers] category:literature ja:散文

Poet

Poets are authors of poems, or of other forms of poetry such as dramatic verse. Poets are often regarded as imaginative thinkers or writers. Bad poets are called poetasters.
- List of poets
- List of poetry groups and movements
- Apocalypse poets
- List of surrealist poets
- Mystic poets
- Symbolist poets
- War poets
- Georgian poets

Poets by language

Poets by nationality

- List of Canadian poets
- List of Nigerian poets
- List of South African poets
- List of contemporary Turkish poets ---- Poets day is a reference to Friday in workplaces which have a shorter working day at the end of the week. In this context, POETS is an acronym for "Push off early, tomorrow's Saturday". ja:詩人
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Novelist

A novel (from French nouvelle, "new") is an extended fictional narrative in prose. Down into the 18th century, the word referred specifically to short fictions of love and intrigue as opposed to romances—epic-length works about love and adventures. Having become one of the major literary genres over the past 200 years the novel is today the object of discussions demanding artistic merits, a specific literary style and a deeper meaning than a true story of the same content could claim to have. __TOC__

Novel/Romance: Unstable Words

One meaning of the English word novel has remained stable: novel can still signify what is new due to its "novelty". When it comes to fiction, though, the meaning of the term has changed over time:
- The period 1200-1750 saw a rise of the novel (originally a short piece of fiction) rivalling the romance (the epic-length performance): this development, which one could describe as the first rise of the novel, occurred across Europe, though only the Spanish and the English went one step further and allowed the word novel (or, in Spanish, novela) to become their regular term for fictional narratives.
- The period 1700-1800 saw the rise of a "new romance" in reaction against the potentially scandalous production of novels. The movement encountered a complex situation in the English market, where the term "new romance" could hardly be ventured, after the novel had done so much to transform taste. The new genre adopted the name novel: this new novel was a work of new epic proportions, with the effect that the English (and Spanish) finally needed a new word for the original short "novel": The term novella was finally created to fill the gap in English. "Short story" brought a further refinement. The meaning of the term romance changed within the same complex process, becoming the word for a love story whether in life or fiction. Other meanings include the musicologist's genre "Romance" of a short and amiable piece, or Romance languages for the languages derived from Latin (French, Spanish, Italian, Romanian, and so forth).

History

Traditions of Prose Fiction: The Ancient World

As Pierre Daniel Huet noted in 1670, the tradition of epic works went back as far as Virgil and Homer. The regular format was verse, suiting the purpose of tradition in a culture of oral performances. Today, we see this tradition as going back even further, to the epic of Gilgamesh. It is more difficult to speak of the influence of the shorter performances of regular storytelling on the medieval traditions which led to the development of the novel/novella. There was a third tradition of prose fictions, both in a satirical mode (with Petronius's Satyricon and the incredible stories of Lucian of Samosata), and a heroic strain (with the romances of Heliodorus and Longus). The ancient Greek romance was revived by Byzantine novelists of the 12th century. All of these traditions were then rediscovered in the 17th and 18th centuries, ultimately influencing the modern book market.

The Romance, 1100-1500

The word romance seems to have become the label of romantic fictions because of the "Romance" language in which early (11th and 12th century) works of this genre were composed. The most fashionable genres developed in southern France in the late 12th century and spread east- and northwards with translations and individual national performances. Subject matter such as Arthurian knighthood had already at that time traveled in the opposite direction, reaching southern France from Britain and French Britanny. As a consequence, it is particularly difficult to determine how much the early "romance" owed to ancient Greek models and how much to such northern folkloric verse epics as Beowulf and the Nibelungenlied. The standard plot of the early romance was a series of adventures. Following a plot framework as old as Heliodorus, and so durable as to be still alive in Hollywood movies, a hero would undergo a first set of adventures before he met his lady. A separation would follow, with a second set of adventures leading to a final reunion. Variations kept the genre alive. Unexpected and peculiar adventures surprised the audience with romances like Sir Gawain and the Green Knight. Classics of the romance developed such as the Roman de la Rose, written first in French, and famous today in English thanks to the translation by Geoffrey Chaucer. These original romances were verse works, adopting a "high language" thought suitable to heroic deeds, and to inspire the emulation of virtues; prose was considered "low", more suitable for satire). Verse allowed the culture of oral traditions to live on, yet it became the language of authors who carefully composed their texts—texts to be spread in writing, thus to preserve the careful artistic composition. The subjects were aristocratic. The textual tradition of ornamented and illustrated handwritten books afforded patronage by the aristocracy or by the monied urban class developing in the 13th and 14th centuries, for whom knight errantry most clearly was a world of fiction and fantasy. The 14th and 15th centuries saw the emergence of first prose romances, a genre rose along with a new book market. This market had developed even before the first printing facilities were introduced: prose authors could speak a new language, a language avoiding the repetition inherent in rhymes. Prose could risk a new rhythm and longer thoughts. Yet it needed the written book to preserve the coincidental formulations the author had chosen. Whilst the printing press was still to come, a commercial book production trade had developed. Legends, lives of saints and mystical visions in prose were the main object of the new market of prose productions. The urban elite, female readers in upper class households and monasteries read religious prose. Prose romances appeared as a new and expensive fashion on this market. They could only truly flourish with the invention of the printing press and with paper becoming a cheaper medium. Both of these achievements arrived in the late 15th century, when the old romance was already facing fierce competition from a number of shorter genres; most salient among these genres was the novel, a form that arose in the course of the 14th century.

The Emergence of the Novel, 1200-1500

Legend It is difficult to give a full catalog of the genres that finally culminated—with the works of Boccaccio, Geoffrey Chaucer, Niccolò Machiavelli and Miguel de Cervantes—in the "novel" as known today . The early novel was basically any story told for its spectacular or revealing incidents. The original environment—living on with the typical frame settings—was the entertaining conversation. Stories of grave incidents could just as well augment sermons. Collections of examples facilitated the work of preachers in need of such illustrations. A fable could illustrate a moral conclusion; a short historical reflection could do the same. A competition of genres developed. Tastes and social status were—if one believes the medieval collections—decisive. The working classes loved their own brand of drastic stories: stories of clever cheating, wit and ridicule levelled against hated social groups (or competitors among the story tellers). Much of the original genre is still alive with the short joke told in everyday life to make a certain humorous point in a conversation. Artistic performances included the story within a story: situations in which a series of stories was allegedly told. They rejoiced in a broad pattern of tastes and genres. The Canterbury Tales constitute a classic example, with their noble storytellers fond of "romantic" stories and their lower narrators preferring stories of everyday life. The genre did not have its own generic term. "Novel" would simply denote the novelty of the accident narrated. The inclusion of frame stories, however, brought an awareness of the fact that genres were developing in this field. The main advantage of the background story was the justification it put into the hands of the actual authors such as Chaucer and Boccaccio. Romances afforded lofty language and relied on an accepted notion of what deserved to be read as high style. Yet what if the taste in moral teachings and poetry changed? Romances quickly outdated. Stories of cheats and pranks, illicit love affairs, and clever intrigues in which certain respectable professions or the citizens of another town were made fun of were, on the other hand, neither morally nor poetically justifiable. They carried their justification outside. The story teller would offer a few words why he thought this story was worth being told. Again, Chaucer's Canterbury Tales afford the best examples: the real author could tell stories without any other justification than that this story gave a good portrait of the person who told it and of his or her taste—and that justification would remain stable throughout history. If lofty performances grew tedious—as they did in the 14th and 15th centuries with the old plots never leading to newer ones—the collections of tales or novels made it easy to criticise the lofty performances and to reduce their status: one of the group of narrators (created by the actual author) could start with the romantic story only to be interrupted by the other narrators listening within the story. They might silence him or order him to speak a language they liked, or they might ask him to speed up and to make his point. The result was a rise of the short genre. The steps of this development can be noted with the short story gaining appreciation and the value to rival romances in new versified collections at the end of the 14th century.

The First Rise of the Novel, 1500-1750

The Canterbury Tales The invention of printing subjected both novels and romances to a first wave of trivialisation and commercialisation. Printed books were expensive, yet something people would buy, just as people still buy expensive things they can barely afford. Alphabetisation, or the rise of literacy, was a slow process when it came to writing skills, but was faster as far as reading skills were concerned. The Protestant Reformation afforded readers of religious pamphlets, newspapers and broadsheets. The urban population learned to read, but did not aspire to participation in the world of letters. The market of chapbooks developing with the printing press comprised both romances and little histories, tales and fables. Woodcuts were the regular ornament and they were offered without much care. A romance in which the heroic knight had to fight more than ten duels within a few pages could get the same illustration of such a fight again and again if the printers stock of standard illustrations was small. As their stocks grew, printers repeated the same illustrations in other books with similar plots, mixing these illustrations without respect to style. You can open 18th century chapbooks and find illustrations from the early years of printing next to more modern ones. Romances were reduced to cheap and abrupt plots resembling modern comic books. Neither were the first collections of novels necessarily prestigious projects. They appeared with an enormous variety from folk tales over jests to stories told by Boccaccio and Chaucer, now venerable authors. comic book comic book comic book A more prestigious market of romances developed in the 16th century, with multi-volume works aiming at an audience which would subscribe to this production. The criticism levelled against romances by Chaucer's pilgrims grew in response both to the trivialisations and to the extended multi-volume "romances". Romances like the Amadis de Gaula led their readers into dream worlds of knighthood and fed them with ideals of a past no one could revitalise, or so the critics complained. Italian authors like Machiavelli were among those who brought the novel into a new format: while it remained a story of intrigue, ending in a surprising point, the observations were now much finer: how did the protagonists manage their intrigue? How did they keep their secrets, what did they do when others threatened to discover them? The whole question of novels and romances became critical when Cervantes added his Novelas Exemplares (1613) to the two volumes of his Don Quixote (1605/15). The famous satirical romance was levelled against the Amadis which had made Don Quixote lose his mind. Advocates of the lofty romance would, however, claim that the satirical counterpart of the old heroic romance could hardly teach anything: Don Quixote neither offered a hero to be emulated nor did it satisfy with beautiful speeches; all it could do was to make fun of lofty ideals. The Novelas Exemplares offered an alternative between the heroic and the satiric mode, yet critics were even less sure about what to make of this production. Cervantes told stories of adultery, jealousy and crime. If these stories were to give examples, they gave examples of immoral actions. The advocates of the "novel" responded that their stories taught both with good and with bad examples. The reader could still feel compassion and sympathy with the victims of crimes and intrigues, if evil examples were to be told. The alternative to dubious novels and satirical romances were better, lofty romances: a production of romances modeled after Heliodorus arrived as a possible answer with excursions into the bucolic world. Honoré d'Urfés L'Astrée (1607-27) became the most famous work of this type. The criticism that these romances had nothing to do with real life was answered through the device of the roman à clef (literally "novel with a key", one that, properly understood, alludes to characters in the real world). John Barclay's Argenis (1625-26) appeared as a political roman à clef. The romances of Madeleine de Scudéry gained greater influence with plots situated in the ancient world and content taken from life. The famous author told stories of her friends in the literary circles of Paris and developed their fates from volume to volume of her serialised production. Readers of taste bought her books, as they offered the finest observation of human motives, characters taken from life, excellent morals regarding how one should and should not behave if one wanted to succeed in public life and in the intimate circles she portrayed. The novel went its own way: Paul Scarron (himself a hero in the romances of Madeleine de Scudéry) published the first volume of his Roman Comique in 1651 (successive volumes appeared in 1657 and, by another hand, in 1663) with a plea for the development Cervantes had induced in Spain. France should (as he wrote in the famous 21st chapter of his Roman Comique [http://www.pierre-marteau.com/library/e-1700-0002.html#c21]) imitate the Spanish with little stories like those they called "novels". Scarron himself added numerous of such stories to his own work. Twenty years later Madame de La Fayette made the next decisive steps with her two novels. The first, her Zayde published in 1670 together with Pierre Daniel Huet's famous Treatise on the Origin of Romances, was a "Spanish History". Her second and more important novel appeared in 1678: La Princesse de Clèves proved that France could actually produce novels of a particularly French taste. The Spanish enjoyed stories of proud Spaniards who fought duels to avenge their reputations. The French had a more refined taste with minute observation of human motives and behaviour. The story was firmly a "novel" and not a "romance": a story of unparalleled female virtue, with a heroine who had had the chance to risk an illicit amour and not only withstood the temptation but made herself more unhappy by confessing her feelings to her husband. The gloom her story created was entirely new and sensational. The regular novel took another turn. The late 17th century saw the emergence of a European market for scandal, with French books appearing now mostly in the Netherlands (where censorship was liberal) to be re-imported clandestinely back into France. The same production reached the neighbouring markets of Germany and Britain, where it was welcomed both for its French style and its predominantly anti-French politics. The novel flourished on this market as the best genre to purport scandalous news. The authors claimed the stories they had to tell were true, told not for the sake of scandal but only for the moral lessons they gave. To prove this, they fictionalized the names of their characters and told these stories as if they were novels. (The audience played its own game in identifying who was who). Journals of little stories appeared—the Mercure Gallant became the most important. Collections of letters added to the market; these included more of these little stories and led to the development of the epistolary novel in the late 17th century. In the late 1670s the novel reached the English market. Aphra Behn and William Congreve were among the first modern English authors to adopt the term.

State of Affairs: The Market around 1700

Early 18th century novels and romances were still not considered part the world of learning, hence, not of part of literature; they were market goods. If you opened the term catalogues it was mostly situated in the—predominantly political—field of "History and Politicks" with some romances like Cervantes Don Quixote translated into verse becoming poetical. The integration of prose fiction into the market of histories appeared under the following scheme:

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		3.1 Heroical Romances: Fénelon's Telemach (1699)
1 Sold as romantic inventions, read as true histories of public affairs: Manley's New Atalantis (1709)	2 Sold as romantic inventions, read as true histories of private affairs: Menantes' Satyrischer Roman (1706)	3.2 Classics of the novel from the Arabian Nights to M. de La Fayette's Princesse de Cleves (1678)	4 Sold as true private history, risking to be read as romantic invention: Defoe's Robinson Crusoe (1719)	5 Sold as true public history, risking to be read as romantic invention: La Guerre d'Espagne (1707)
		3.3 Satirical Romances: Cervantes' Don Quixote (1605)	From Olaf Simons, Marteaus Europa (Amsterdam, 2001), p.194.

The centre of the market was held by fictions which claimed to be fictions and which were read as such. They comprised a high production of romances and, at the bottom end, an opposing production of satirical romances. In the centre, the novel had grown, with stories that were neither heroic nor predominantly satirical, yet mostly realistic, short and stimulating with their examples of human actions to be discussed. The central production had two wings: On the left hand, one had books which claimed to be romances, but which threatened to be anything but fictitious. Delarivier Manley wrote the most famous of them, her New Atalantis, full of stories the author claimed to have invented. The censors were helpless: Manley had hawked stories discrediting the ruling Whigs, yet should they ask the Whigs to prove that all these stories actually happened on British soil rather than on the fairy tale island Atalantis? This was what they had to do if they wanted to sue the author. Delarivier Manley escaped the interrogations unscathed and continued her libellous work with three more volumes of the same ilk. Private stories appeared on the same market, creating a different genre of personal love and public battles over lost reputations. On the other hand one had a market of titles which claimed to be strictly non-fictional—Daniel Defoe's Robinson Crusoe became the most important of them. The genre-identification: "Sold as true private history, risking to be read as romantic invention" opened the preface:

IF ever the Story of any Man's Adventures in the World were worth making Publick, and were acceptable when Publish'd, the Editor of this Account thinks this will be so.
     The Wonders of this Man's Life exceed all that (he thinks) is to be found extant; the Life of one Man being scarce capable of a greater Variety.
     The Story is told with Modesty, with Seriousness, and with a religious Application of Events to the Uses to which wise Men always apply them (viz.) to the Instruction of others by this Example, and to justify and honor the Wisdom of Providence in all the Variety of Circumstances, let them happen how they will.
     The Editor believes the thing to be a just History of Fact; neither is there any Appearance of Fiction in it: And however thinks, because all such things are dispatch'd, that the Improvement of it, as well as the Diversion, as to the Instruction of the Reader, will be the same; and as such he thinks, without farther Compliment to the World, he does them a great Service in the Publication.

A production of histories of similar verisimilitude dove into the overtly political. Gatien de Courtilz de Sandras (1644-1712) became the most important author in this field with his first version of d'Artagnan's story, told again more than a century later by Alexandre Dumas the elder. Witty, and a distant precursor of Ian Fleming's fictional James Bond, is another book allegedly by his hand: La Guerre d'Espagne (1707) the story of a disillusioned French spy, who gave insight into French politics—and into his own love affairs, with little intrigues he managed wherever he had to do his jobs. Fact and fiction were mixed in all these titles, to the point that one could no longer tell where the author had invented and where he had simply betrayed secrets.

The Second Rise of the Novel or the New Romance, 1700-1800

The early 18th century had—with the novel diving into private and public scandal—reached a state of affairs where a new reform seemed desirable. The old Amadis could be said to have driven its readers into dream worlds, and the new novels, devoid of lofty speeches and incredible acts of heroism, had done much to refine taste. Yet they had created entirely new risks, with stories of love in which children cheated their parents, and with which private and public gossip were published on the open market. Jane Barker was among the 18th century voices who demanded a return to the old antiquated romance. Her "New Romance" Exilius (1715) opened with the sketch of a new tradition: the romance had, so Jane Barker claimed, developed from Geoffrey Chaucer to François Fénelon; the latter was the author who had just become famous with his epochal romance Telemachus (1699/1700). Fénelon's English publishers had carefully avoided the term "romance" and rather published a "new epic in prose"—so the prefaces. Jane Barker insisted, however, on publishing her Exilius as "New Romance [...] after the manner of Telemachus", and failed on the market. In 1719 her publisher, Edmund Curll, finally removed the old title pages and offered her works as a collection of novels. The big market success of the next decade—Daniel Defoe's Robinson Crusoe—appeared that very year and W. Taylor, the publisher, avoided all these traps with a title page claiming neither the realm of novels nor that of romances, but that of histories, yet with a page design tasting all too much of the "new romance" with which Fénelon had just become famous. histories Defoe's Robinson Crusoe was everything but a novel, as the term was understood at the time. It was neither short, nor did it focus on an intrigue, nor was it told for the sake of a clear cut point. Nor was Crusoe an anti-hero of a satirical romance, though he spoke the first person singular and had stumbled into all kinds of miseries. He did not really invite laughter (though readers of taste would read, of course, all his proclamations about being a real man as made in good humour). The feigned author was serious: Against his will his life had brought him into this series of most romantic adventures. He had fallen into the hands of pirates and survived years on an uninhabited island. He had survived all this—a mere sailor from York—with exemplary heroism. If readers read his work as a romance, full of sheer invention, he could not blame them. He and his publisher knew that all he had to tell was strictly unbelievable, and yet they would claim it was true (and if not, still readable as good allegory)—the complex game which puts this work into the fourth column of the pattern above.

The Market of Classics and the Reform of the Novel, 1700-1800

allegory The publication of Robinson Crusoe did not lead into the mid-18th century market reform. Crusoe's books were published as a dubious histories; they played the game of the scandalous early 18th century market, with the novel fully integrated into the realm of histories. They even appeared reprinted by one of the London newspapers as a possibly true relation of facts. Philosophers like Jean-Jacques Rousseau turned Robinson Crusoe into a classic decades later, and it took another century before one could see Defoe's book as the first English "novel"—published, as Ian Watt saw it in 1957, as an answer to the market of French romances. The reform of the early 18th century market of novels came with the production of classics: 1720 saw the decisive edition of classics of the European novel published in London with titles from Machiavelli to Marie de LaFayette. Aphra Behn's novels had over the last decades appeared in collections of her works. The author of the 1680s had become a classic by now. Fénelon had become a classic years ago, as had Heliodorus. The works of Petronius and Longos appeared, equipped with prefaces which put them into the tradition of prose fiction Huet had defined. Prose fiction itself had, according to the critics, a history of ups and downs: having run into a crisis with the Amadis, it found its remedy with the novel. It now needed continuous care. Yet, all in all, it could claim to be the most elegant part of the belles lettres, the new market segment within the bigger market of literature, embracing the new classics. Huet's Traitté de l'origine des romans first published in 1670 and now circulating in a number of translations and editions won a central position among those writings which had dealt with prose fiction. The Treatise had created the first corpus of texts to be discussed and it had been the first title that demonstrated how one could "interpret" worldly fictions—just as a theologian would interpret parts of the gospel in a theological debate. The interpretation needed its aims, of course—and Huet had offered a number of questions one could ask: What did the fictional work of a foreign culture or distant period tell us about those who constructed the fiction? What were the cultural needs such stories answered? Are there fundamental anthropological premises which make us create fictional worlds? Did these fictions entertain, divert and instruct? Did they—as one could assume when reading ancient and medieval myths—just provide a substitute for better, more scientific knowledge or did they add to the luxuries of life a particular culture enjoyed? The ancient Mediterranean erotic stories could afford such an interpretation. The interpretation and analysis of classics placed readers of fictions in an entirely new and improved position: it made a vast difference whether you read a romance and got lost in a dream world or whether you read the same romance with a preface telling you more about the Greeks, Romans or Arabs who produced titles like the Aethopica or The Book of One Thousand and One Nights (first published in Europe from 1704 to 1717 in French and translated immediately from this edition into English and German).

To be Discussed: The Novel turning into Literature, 1740-1800

The Book of One Thousand and One Nights The early 18th century market for classics of prose fiction inspired living authors. Aphra Behn turned from an anonymous hack into a celebrated author after her death. Fénelon achieved the same fame during his life time. Delarivier Manley, Jane Barker and Eliza Haywood followed their famous French models who had dared to claim fame with their real names: the Madame d'Aulnoy and Anne Marguerite Petit DuNoyer. Most previous novels had been pseudonymous; now they became the productions of famous authors. The discourse necessary to appreciate such a move towards responsibility was yet underdeveloped. Journals discussing literature focussed on "learning", literature in the strict sense of the word. So far, most discussion of novels and romances had taken place within the field itself. Literary criticism, a critical—external—discourse about poetry and fiction arose in the second half of the 18th century. It opened an interaction between separate participants in which novelists would write in order to be criticised and in which the public would observe the interaction between critics and authors. The new criticism of the late 18th century offered a reform by establishing a market of works worthy to be discussed (whilst the rest of the market would thus continue but lose most of its public appeal). The result was a market division into a low field of popular fictions and a critical literary production. The latter privileged works which rivalled ancient verse epics to be discussed as art, which played with the traditions of prose fiction (they opened an internal discourse about the history of literature), and which were of a clearly defined fictional status—they alone could be discussed as works created by an artist who wanted this and no other story to be discussed by the audience. The old design of title pages changed: New novels no longer pretended to sell fictions whilst threatening to betray real secrets. Nor did they appear as false "true histories". The new title pages pronounced their works to be fictions, and indicated how the public might discuss them. Samuel Richardson’s Pamela or Virtue Rewarded (1740) was one of the titles which brought the old novel-title with its "[...] or [...]" formula offering an example into the new format: "Pamela or Virtue Rewarded – Now first published in order to cultivate the Principles of Virtue and Religion in the Minds of the Youth of Both Sexes, A Narrative which has the Foundation in Truth and Nature; and at the same time that it agreeably entertains…" So the title page read, and made it clear that the work was crafted by an artist aiming at a certain effect—yet to be discussed by the critical audience. A decade later novels, needed no other status than that of being novels, fiction. Present-day editions of novels simply state "Fiction" on the cover. It had become prestigious to be sold under the label, asking for discussion and thought. Scandal as the DuNoyer or Delarivier Manley had published it vanished from the market of prose fiction—whether high or low. It could not attract serious critics and it was lost if it remained undiscussed. It ultimately needed its own brand of scandalous journalism—the journalism which developed with the yellow press. The low market of prose fiction went on to focus on immediate satisfaction of an audience enjoying its stay in the fictional world. The high market grew complex, with works playing new games. On the high market, one could eventually see two traditions developing: one of works playing with the art of fiction—Laurence Sterne’s Tristram Shandy is among them—the other closer to the prevailing discussions and moods of its audience. The great conflict of the 19th century was yet to come, as to whether artists should write to satisfy the public or whether to produce art for art's sake.

Sentimentalism, Psychology, and a New Individual, 1750-1850

The mid- and late 18th century novel of sentimentalism produced an entirely new individual, one with a different attitude towards privacy and the public. Had the early 18th century heroine been bold and ready to protect her reputation if necessary in a press war her mid-18th century descendant was far too modest and shy to do the same. Early 18th century heroines had their secrets, they loved effective intrigues, they tried whatever they felt necessary to get what they wanted. Mid-18th century heroines developed a feeling of modesty. They suffered if they had to keep secrets and felt an urge to confess. They searched for friends and intimacy, for situations in which they could freely open their hearts and speak of their deepest wishes. The 18th century audience saw these new heroes and heroines with amazement. When it came to their most secret wishes they dared to confide in their parents and friends—a trust which would have made them easy victims in the early 18th century world of fiction, libel, intrigue and scandal. Now, however, these weak heroines met an environment of compassion. Instead of making their affairs a public entertainment, the new heroes and heroines developed an intimacy into which the novel alone could take a careful look. Special genres flourished with these protagonists who would not wash their dirty linen in the public: Their letters or diaries were found and published only after their death. A wave of sentimentalism was the first result, leading to heroes like Henry Mackenzie's Man of Feeling (1771). A second wave followed with more radical heroes who could no longer dream of an environment understanding them. Johann Wolfgang von Goethe's The Sorrows of Young Werther (1774) was at the forefront of the new movement, and yielded a wave of compassion and understanding with readers ready to follow Werther into his suicide. Critics embraced the new heroes as the best sign of a new literature which aimed at discussions. The understanding these heroes craved for afforded a secondary discussion—a discussion of the nature of the human psyche so much better observed by these new novels. The novel had, with these developments, turned advocacy of individual and societal moral reform into a genre. With the romantic movement beginning in the 1770s, the development went one step further: the novel became the medium of an avant garde, the genre where emotions found their test cases. The Bildungsroman developed in Germany—a novel focussing on the development of the individual, his or her education and its way into individuality and society. New sciences—from sociology to psychology—developed with the new individual and influenced the discussions surrounding the novel in the 19th century.

The 19th century and the Novel as the object of great Discussions

At the beginning of the 17th century the novel had been a genre of realism fighting the romance with its wild fantasies. The novel had turned to scandal, then it had been reformed over the last decades of the 18th century. Fiction eventually became the most honourable field of literature. A wave of novels of fantasy culminated this development at the turn of the 18th into the 19th century. Sensibility was heightened in these novels. Women, overwrought and prone to imagining worlds beyond their appointed one, became the heroines of the new world of "romances" and "Gothic novels" creating stories in distant times and places. Renaissance Italy was a favourite of the gothic novel. The classic Gothic novel is Ann Radcliffe’s The Mysteries of Udolpho (1794). As in other Gothic novels, the notion of the sublime is central. Eighteenth-century aesthetic theory held that the sublime and the beautiful were juxtaposed. The sublime was awful (awe-inspiring) and terrifying while the beautiful was calm and reassuring. The characters and landscapes of the Gothic rest almost entirely within the sublime, with the heroine the great exception. The "beautiful" heroine's susceptibility to supernatural elements, integral to these novels, both celebrates and problematizes what came to be seen as hyper-sensibility. At the beginning of the 19th century, the overwrought emotions of sensibility, as expressed through the Gothic sublime, had run their course. Jane Austen wrote a Gothic novel parody titled Northanger Abbey (1803), reflecting the death of the Gothic novel. Moreover, while sensibility did not disappear, it was less valued. Austen introduced a different style of writing—the comedy of manners. Her novels often are not only funny, but also scathingly critical of the restrictive, rural culture of the early 19th century. Her best known novel, Pride and Prejudice (1811), is her happiest, and has been a blueprint for much subsequent romantic fiction; her novels are still retain a wide following, despite the distance between their heroines' dilemmas and those of a 21st-century reader. The market for novels in the 19th century separated into a new "high" and "low" production. The new high production can best be viewed in terms of national traditions. The low production is rather organised by genres in a pattern deriving from the spectrum of 17th- and 18th-century genres: 1. Literature (with a capital L) promoted by critical discourse.

Spanish Literature

French Literature

German Literature

English Literature

…by language and nation

2. Popular Fiction not promoted by criticism

1
The modern roman à clef (a recent example is Primary Colors)

2
Sex, including soft "romantic" pornography for the female audience

3
Historical settings (the tradition of heroic romances), crime (the tradition of the 17th century novel)

4
Adventure, Science fiction

5
Espionage, Conspiracy

The position of authors attained its modern form with the establishment of this pattern. The modern author can aim at broad market or write with an eye to serious critical discussion. The borders between the realms have developed differently in different nations. While this modern market divide came relatively late to the English-speaking world, Germany and France had an earlier and much stronger interest in creating national literatures—France in the wake of the French Revolution, Germany during its mid-19th-century unification. Both of these nations experienced a division between high literature—discussed in schools and newspapers, and celebrated in public life—and a low production—not worthy to be mentioned in such circles— while the vast commercial market of the English-speaking world still resisted this artificial divide. Here and there new author identities developed as the novel proved to be a perfect medium for a communication both intimate (novels are read by privately whereas plays are always a public event) and public (novels are published and thus become a matter touching the public if not the nation and its vital interests), a medium of a personal point of view which can get the world into its view. New modes of interaction between authors and the public reflected these developments: authors reading in the public, authors receiving prestigious prizes, authors giving interviews in the media and acting as their nations' conscience. This concept of the novelist as public figure arose in the course of the 19th century.

The 20th Century: From Modernism to Postmodernism

Modernist literature and Postmodern literature

Individual Novels Discussed

From Western antiquity—Greece and Rome—these are the earliest, extant novels:
- Xenophon, The Education of Cyrus (Greek, 4th century BC). A largely fictional account of the education of King Cyrus the Great of Persia. This is considered a precursor to the novel.
- Petronius, Satyricon (Latin, 1st century).
- Apuleius, The Golden Ass (Latin, 2nd century).
- Chariton, The Loves of Chaereas and Callirhoe (Greek, 1st century–2nd century).
- Achilles Tatius, Leucippe and Clitophon (Greek, 2nd century).
- Longus, Daphnis and Chloe (Greek, 2nd century).
- Xenophon of Ephesus, Ephesian Tale (Greek, 2nd century–3rd century).
- Heliodorus, Ethiopian Tale (Greek, 3rd century–4th century).
- Anon, Acts of Xanthippe, Polyxena, and Rebecca (Greek, 3rd century–4th century).
- Anon, Joseph and Aseneth (Greek, 1st century–5th century).
- Anon, The Story of Apollonius, King of Tyre (Latin adaptation of lost Greek original, 5th century–6th century).

Asian works

Early important Asian novels include:
- Dandin, The Adventures of the Ten Princes (Sanskrit, 6th century–7th century).
- Banabhatta, Kadambari (Sanskrit, 7th century).
- Anon, The Tale of the Bamboo Cutter (Japanese, 10th century).
- Murasaki Shikibu, The Tale of Genji