Literature

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This article is about (usually written) works. For the card game, see Literature (card game).

Literature is the art of written works. Literally translated, the word means "acquaintance with letters" (from Latin littera letter), and therefore the academic study of literature is known as Letters (as in the phrase "Arts and Letters"). In Western culture the most basic written literary types include fiction and non-fiction.

Definitions

Literature

Major forms

Novel · Poem · Drama Short story · Novella

Genres

Epic · Lyric · Drama Romance · Satire Tragedy · Comedy Tragicomedy

Media

Performance (play) · Book

Techniques

Prose · Verse

History and lists

Basic topics · Literary terms History · Modern history Books · Writers Literary awards · Poetry awards

Discussion

Criticism · Theory · Magazines

The word "literature" has different meanings depending on who is using it. It could be applied broadly to mean any symbolic record, encompassing everything from images and sculptures to letters. In a more narrow sense the term could mean only text composed of letters, or other examples of symbolic written language (Egyptian hieroglyphs, for example). An even more narrow interpretation is that text have a physical form, such as on paper or some other portable form, to the exclusion of inscriptions or digital media. The Muslim scholar and philosopher Imam Ja'far al-Sadiq (702-765 AD) defined "literature" as follows: "Literature is the garment which one puts on what he says or writes so that it may appear more attractive."^[1] Added that literature is a slice of life that has been given direction and meaning, an artistic interpretation of the world according to the percipient's point of views. Frequently, the texts that make up literature crossed over these boundaries. Russian Formalist Roman Jakobson defines literature as "organized violence committed on ordinary speech", highlighting literature's deviation from the day-to-day and conversational structure of words. Illustrated stories, hypertexts, cave paintings and inscribed monuments have all at one time or another pushed the boundaries of "literature."

People may perceive a difference between "literature" and some popular forms of written work. The terms "literary fiction" and "literary merit" often serve to distinguish between individual works. For example, almost all literate people perceive the works of Charles Dickens as "literature," whereas some critics^{[citation needed]} look down on the works of Jeffrey Archer as unworthy of inclusion under the general heading of "English literature." Critics may exclude works from the classification "literature," for example, on the grounds of a poor standard of grammar and syntax, of an unbelievable or disjointed story-line, or of inconsistent or unconvincing characters. Genre fiction (for example: romance, crime, or science fiction) may also become excluded from consideration as "literature."

History

One of the earliest known literary works is the Sumerian Epic of Gilgamesh, an epic poem dated around 2700 B.C., which deals with themes of heroism, friendship, loss, and the quest for eternal life. Different historical periods have emphasized various characteristics of literature. Early works often had an overt or covert religious or didactic purpose. Moralizing or prescriptive literature stems from such sources. The exotic nature of romance flourished from the Middle Ages onwards, whereas the Age of Reason manufactured nationalistic epics and philosophical tracts. Romanticism emphasized the popular folk literature and emotive involvement, but gave way in the 19th-century West to a phase of realism and naturalism, investigations into what is real. The 20th century brought demands for symbolism or psychological insight in the delineation and development of character.

Poetry

A poem is a composition written in verse (although verse has been equally used for epic and dramatic fiction). Poems rely heavily on imagery, precise word choice, and metaphor; they may take the form of measures consisting of patterns of stresses (metric feet) or of patterns of different-length syllables (as in classical prosody); and they may or may not utilize rhyme. One cannot readily characterize poetry precisely. Typically though, poetry as a form of literature makes some significant use of the formal properties of the words it uses – the properties of the written or spoken form of the words, independent of their meaning. Meter depends on syllables and on rhythms of speech; rhyme and alliteration depend on the sounds of words.

Poetry perhaps pre-dates other forms of literature: early known examples include the Sumerian Epic of Gilgamesh (dated from around 2700 B.C.), parts of the Bible, the surviving works of Homer (the Iliad and the Odyssey), and the Indian epics Ramayana and Mahabharata. In cultures based primarily on oral traditions the formal characteristics of poetry often have a mnemonic function, and important texts: legal, genealogical or moral, for example, may appear first in verse form.

Some poetry uses specific forms: the haiku, the limerick, or the sonnet, for example. A traditional haiku written in Japanese must have something to do with nature, contain seventeen onji (syllables), distributed over three lines in groups of five, seven, and five, and should also have a kigo, a specific word indicating a season. A limerick has five lines, with a rhyme scheme of AABBA, and line lengths of 3,3,2,2,3 stressed syllables. It traditionally has a less reverent attitude towards nature. Poetry not adhering to a formal poetic structure is called "free verse"

Language and tradition dictate some poetic norms: Persian poetry always rhymes, Greek poetry rarely rhymes, Italian or French poetry often does, English and German poetry can go either way. Perhaps the most paradigmatic style of English poetry, blank verse, as exemplified in works by Shakespeare and Milton, consists of unrhymed iambic pentameters. Some languages prefer longer lines; some shorter ones. Some of these conventions result from the ease of fitting a specific language's vocabulary and grammar into certain structures, rather than into others; for example, some languages contain more rhyming words than others, or typically have longer words. Other structural conventions come about as the result of historical accidents, where many speakers of a language associate good poetry with a verse form preferred by a particular skilled or popular poet.

Works for theatre (see below) traditionally took verse form. This has now become rare outside opera and musicals, although many would argue that the language of drama remains intrinsically poetic.

In recent years, digital poetry has arisen that takes advantage of the artistic, publishing, and synthetic qualities of digital media.

Prose

Prose consists of writing that does not adhere to any particular formal structures (other than simple grammar); "non-poetic" writing, perhaps. The term sometimes appears pejoratively, but prosaic writing simply says something without necessarily trying to say it in a beautiful way, or using beautiful words. Prose writing can of course take beautiful form; but less by virtue of the formal features of words (rhymes, alliteration, metre) but rather by style, placement, or inclusion of graphics. But one need not mark the distinction precisely, and perhaps cannot do so. One area of overlap is "prose poetry", which attempts to convey using only prose, the aesthetic richness typical of poetry.

Essays

An essay consists of a discussion of a topic from an author's personal point of view, exemplified by works by Michel de Montaigne or by Charles Lamb.

'Essay' in English derives from the French 'essai', meaning 'attempt'. Thus one can find open-ended, provocative and/or inconclusive essays. The term "essays" first applied to the self-reflective musings of Michel de Montaigne, and even today he has a reputation as the father of this literary form.

Genres related to the essay may include:

• the memoir, telling the story of an author's life from the author's personal point of view
• the epistle: usually a formal, didactic, or elegant letter.

Fiction

Narrative fiction (narrative prose) generally favours prose for the writing of novels, short stories, graphic novels, and the like. Singular examples of these exist throughout history, but they did not develop into systematic and discrete literary forms until relatively recent centuries. Length often serves to categorize works of prose fiction. Although limits remain somewhat arbitrary, modern publishing conventions dictate the following:

• A Mini Saga is a short story of exactly 50 words
• A Flash fiction is generally defined as a piece of prose under a thousand words.
• A short story comprises prose writing of between 1000 and 20,000 words (but typically more than 5000 words), which may or may not have a narrative arc.
• A story containing between 20,000 and 50,000 words falls into the novella category.
• A work of fiction containing more than 50,000 words falls squarely into the realm of the novel.

A novel consists simply of a long story written in prose, yet the form developed comparatively recently. Icelandic prose sagas dating from about the 11th century bridge the gap between traditional national verse epics and the modern psychological novel. In mainland Europe, the Spaniard Cervantes wrote perhaps the first influential novel: Don Quixote, the first part of which was published in 1605 and the second in 1615. Earlier collections of tales, such as the One Thousand and One Nights, Giovanni Bocaccio's Decameron and Chaucer's The Canterbury Tales, have comparable forms and would classify as novels if written today. Other works written in classical Asian and Arabic literature resemble even more strongly the novel as we now think of it – for example, works such as the Japanese Tale of Genji by Lady Murasaki, the Arabic Hayy ibn Yaqdhan by Ibn Tufail, the Arabic Theologus Autodidactus by Ibn al-Nafis, and the Chinese Romance of the Three Kingdoms by Luo Guanzhong.

Early novels in Europe did not, at the time, count as significant literature, perhaps because "mere" prose writing seemed easy and unimportant. It has become clear, however, that prose writing can provide aesthetic pleasure without adhering to poetic forms. Additionally, the freedom authors gain in not having to concern themselves with verse structure translates often into a more complex plot or into one richer in precise detail than one typically finds even in narrative poetry. This freedom also allows an author to experiment with many different literary and presentation styles – including poetry – in the scope of a single novel.

See Ian Watt's The Rise of the Novel. [This definition needs expansion]

[edit] Other prose literature

Philosophy, history, journalism, and legal and scientific writings traditionally ranked as literature. They offer some of the oldest prose writings in existence; novels and prose stories earned the names "fiction" to distinguish them from factual writing or nonfiction, which writers historically have crafted in prose.

The "literary" nature of science writing has become less pronounced over the last two centuries, as advances and specialization have made new scientific research inaccessible to most audiences; science now appears mostly in journals. Scientific works of Euclid, Aristotle, Copernicus, and Newton still possess great value; but since the science in them has largely become outdated, they no longer serve for scientific instruction, yet they remain too technical to sit well in most programmes of literary study. Outside of "history of science" programmes students rarely read such works. Many books "popularizing" science might still deserve the title "literature"; history will tell.

Philosophy, too, has become an increasingly academic discipline. More of its practitioners lament this situation than occurs with the sciences; nonetheless most new philosophical work appears in academic journals. Major philosophers through history – Plato, Aristotle, Augustine, Descartes, Nietzsche – have become as canonical as any writers. Some recent philosophy works are argued to merit the title "literature", such as some of the works by Simon Blackburn; but much of it does not, and some areas, such as logic, have become extremely technical to a degree similar to that of mathematics.

A great deal of historical writing can still rank as literature, particularly the genre known as creative nonfiction. So can a great deal of journalism, such as literary journalism. However these areas have become extremely large, and often have a primarily utilitarian purpose: to record data or convey immediate information. As a result the writing in these fields often lacks a literary quality, although it often and in its better moments has that quality. Major "literary" historians include Herodotus, Thucydides and Procopius, all of whom count as canonical literary figures.

Law offers a less clear case. Some writings of Plato and Aristotle, or even the early parts of the Bible, might count as legal literature. The law tables of Hammurabi of Babylon might count. Roman civil law as codified in the Corpus Juris Civilis during the reign of Justinian I of the Byzantine Empire has a reputation as significant literature. The founding documents of many countries, including the United States Constitution, can count as literature; however legal writing now rarely exhibits literary merit.

Game design scripts are never seen by the player of a game and only by the developers and/or publishers to help them understand, visualize and maintain consistency while collaborating in creating a game, the audience for these pieces is usually very small. Still, many game scripts contain immersive stories and detailed worlds making them a hidden literary genre.

Most of these fields, then, through specialization or proliferation, no longer generally constitute "literature" in the sense under discussion. They may sometimes count as "literary literature"; more often they produce what one might call "technical literature" or "professional literature".

Drama

A play or drama offers another classical literary form that has continued to evolve over the years. It generally comprises chiefly dialogue between characters, and usually aims at dramatic / theatrical performance (see theatre) rather than at reading. During the eighteenth and nineteenth centuries, opera developed as a combination of poetry, drama, and music. Nearly all drama took verse form until comparatively recently. Shakespeare could be considered drama. Romeo and Juliet, for example, is a classic romantic drama generally accepted as literature.

Greek drama exemplifies the earliest form of drama of which we have substantial knowledge. Tragedy, as a dramatic genre, developed as a performance associated with religious and civic festivals, typically enacting or developing upon well-known historical or mythological themes. Tragedies generally presented very serious themes. With the advent of newer technologies, scripts written for non-stage media have been added to this form. War of the Worlds (radio) in 1938 saw the advent of literature written for radio broadcast, and many works of Drama have been adapted for film or television. Conversely, television, film, and radio literature have been adapted to printed or electronic media.

Call And Computational Linguistics

Call And Computational Linguistics

CALL and computational linguistics are separate but somewhat interdependent fields of study. The basic goal of computational linguistics is to “teach” computers to generate and comprehend grammatically-acceptable sentences… for purposes of translation and direct communication with computers where the computer understands and generates natural language. Computational linguistics takes the principles of

A very simple example of computers understanding natural language in relation to second language learning is vocabulary drill exercises. The computer prompts the learner with a word on either the L1 or target language and the student responds with the corresponding word.

On a superficial level, the core issue for humans and computers using language is the same; finding the best match between a given speech sound and its corresponding word string, then generating the correct and appropriate response. However, humans and machines process speech in fundamentally different ways. Humans use complex cognitive processes, taking into account variables such as social situations and rules while speech for a computer is simply a series of digital values to generate and parse language.journal=Language Learning and Technology |volume=2 |issue=1 |pages=45–60 |id= |url= |accessdate= 2007-12-02 }} For this reason, those involved in CALL from a computational linguistics perspective tend to be more optimistic about a computer’s ability to do error analysis and other pedagogical tasks than those who come into CALL via language teaching. ^[2]

The term Human Language Technologies is often used to describe some aspects of computational linguistics, having replaced the former term Language Engineering. There has been an upsurge of work in this area in recent years, especially with regard to machine translation and speech synthesis and speech analysis. The professional associations EUROCALL (Europe) and CALICO (USA) have special interest groups (SIGs), respectively devoted to Natural Language Processing (NLP) and Intelligent CALL (ICALL). See Module 3.5 at the ICT4LT website for further information.

Theoretical basis for CALL instruction design

Computers have become so widespread in schools and homes and their uses have expanded so dramatically that the majority of language teachers now think about the implications. Technology can bring about changes in the teaching methodologies of foreign language beyond simply automating fill-in-the-gap exercises. ^[3] The use of the computer in and of itself does not constitute a teaching method, but rather the computer forces pedagogy to develop in new ways that exploit the computer's benefits and that work around its limitations. ^[1] To exploit the computers’ potential, we need language teaching specialists who can promote a complementary relationship between computer technology and appropriate pedagogic programs. ^[3]

A number of pedagogical approaches have developed in the computer age, including the communicative and integrative/experimentative approaches outlined above in the History of CALL. Others include constructivism, whole language theory and sociocultural theory although they are not exclusively theories of language learning. With constructivism, students are active participants in a task in which they “construct” new knowledge based on experience in order to incorporate new ideas into their already-established schema of knowledge. Whole language theory postulates that language learning (either native or second language) moves from the whole to the part; rather than building sub-skills like grammar to lead toward higher abilities like reading comprehension, whole language insists the opposite is the way we really learn to use language. Students learn grammar and other sub-skills by making intelligent guesses bases on the input they have experienced. It also promotes that the four skills (reading, writing, listening and speaking) are interrelated. ^[4] Sociocultural theory states that learning is a process of becoming part of a desired community and learning that communities rules of behavior. ^[5]

What most of these approaches have in common is taking the central focus away from the teacher as a conveyor of knowledge to giving students learning experiences that are as realistic as possible, and where they play a central role. Also, these approaches tend to emphasize fluency over accuracy to allow students to take risks in using more student-centered activities, and to cooperate, rather than compete. ^[3] The computer provides opportunity for students to be less dependent on a teacher and have more freedom to experiment on their own with natural language in natural or semi-natural settings.

Role changes for teachers and students

Teachers

Although the integration of CALL into a foreign language program can lead to great anxiety among language teachers, ^[6] researchers consistently claim that CALL changes, sometimes radically, the role of the teacher but does not eliminate the need for a teacher altogether. Instead of handing down knowledge to students and being the center of students’ attention, teachers become guides as they construct the activities students are to do and help them as students complete the assigned tasks. In other words, instead of being directly involved in students’ construction of the language, the teacher interacts with students primarily to facilitate difficulties in using the target language (grammar, vocabulary, etc.) that arise when interacting with the computer and/or other people. ^{[4] [3]}

Elimination of a strong teacher presence has been shown to lead to larger quantity and better quality of communication such as more fluidity, more use of complex sentences and more sharing of students’ personal selves. ^[4] However, teacher presence is still very important to students when doing CALL activities. Teachers should be familiar enough with the resources to be used to anticipate technical problems and limitations. ^[3] Students need the reassuring and motivating presence of a teacher in CALL environments. Not only are they needed during the initial learning curve, they are needed to conduct review sessions to reinforce what was learned. Encouraging students to participate and offering praise are deemed important by students. Most students report preferring to do work in a lab with a teacher’s or tutor’s presence rather than completely on their own. ^[4]

Students

Students, too, need to adjust their expectations, of their participation in the class in order to use CALL effectively. Rather than passively absorbing information, learners must negotiate meaning and assimilate new information through interaction and collaboration with someone other than the teacher, be that person a classmate or someone outside of the classroom entirely. Learners must also learn to interpret new information and experiences on their own terms. However, because the use of technology redistributes teachers’ and classmates’ attentions, less-able students can become more active participants in the class because class interaction is not limited to that directed by the teacher. ^[4] Moreover more shy students can feel free in their own students'-centered environment. This will raise their self-esteem and their knowledge will be improving. If students are performing collaborative project they will do their best to perform it within set time limits.

Computer assisted language learning

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Computer-assisted language learning (CALL) is a form of computer-based learning which carries two important features: bidirectional learning and individualized learning. It is not a method. CALL materials are tools for learning. The focus of CALL is learning, and not teaching. CALL materials are used in teaching to facilitate the language learning process. It is a student-centered accelerated learning material, which promotes self-paced accelerated learning.

Definition

CALL originates from CAI (Computer-Accelerated Instruction), a term that was first viewed as an aid for teachers. The philosophy of CALL puts a strong emphasis on student-centered lessons that allow the learners to learn on their own using structured and/or unstructured interactive lessons. These lessons carry 2 important features: bidirectional (interactive) learning and individualized learning. CALL is not a method. It is a tool that helps teachers to facilitate language learning process. CALL can be used to reinforce what has been learned in the classrooms. It can also be used as remedial to help learners with limited language proficiency.
The design of CALL lessons generally takes into consideration principles of language pedagogy, which may be derived from learning theories (behaviorist, cognitive, and constructivist) and second language learning such as Krashen's Monitor Theory.
Others may call CALL an approach to teaching and learning foreign languages whereby the computer and computer-based resources such as the Internet are used to present, reinforce and assess material to be learned. CALL can be made independent of the Internet. It can stand alone for example in a CDROM format. Depending on its design and objectives, it may include a substantial interactive element especially when CALL is integrated in web-based format. It may include the search for and the investigation of applications in language teaching and learning. [1] Except for self-study software, CALL is meant to supplement face-to-face language instruction, not replace it.[2]

Computers have been used for language teaching ever since the 1960s. This 40-year period can be divided into three main stages: behaviorist CALL, communicative CALL, and integrative CALL. Each stage corresponds to a certain level of technology and certain pedagogical theories. The reasons for using Computer-assisted Language Learning include: (a) experiential learning, (b) motivation, (c) enhance student achievement, (d) authentic materials for study, (e) greater interaction, (f) individualization, (g) independence from a single source of information, and (h) global understanding. The barriers inhibiting the practice of Computer-assisted Language Learning can be classified in the following common categories: (a) financial barriers, (b) availability of computer hardware and software, (c) technical and theoretical knowledge, and (d) acceptance of the technology.

Introduction

History

CALL’s origins and development trace back to the 1960’s (Delcloque 2000). Since the early days CALL has developed into a symbiotic relationship between the development of technology and pedagogy.
Warschauer divided the development of CALL into three phases: Behavioristic CALL, Communicative CALL and Integrative CALL (Multimedia and the Internet)[1]. Bax (2003) perceived the three phases as Restricted, Open and Integrated - and there have been several other attempts to categorize the history of CALL: see the ICT4LT website (Section 3 of Module 1.4)].
Because repeated exposure to material was considered to be beneficial or even essential, computers were considered ideal for this aspect of learning as the machines did not get bored or impatient with learners and the computer could present material to the student as his/her own pace and even adapt the drills to the level of the student. Hence, CALL programs of this era presented a stimulus to which the learner provided a response. At first, both could be done only through text. The computer would analyze errors and give feedback. More sophisticated programs would react to students’ mistakes by branching to help screens and remedial activities. While such programs and their underlying pedagogy still exist today, to a large part behavioristic approaches to language learning have been rejected and the increasing sophistication of computer technology has lead CALL to other possibilities.
Communicative CALL is based on the communicative approach that became prominent in the late 1970’s and 1980’s. In the communicative approach, the focus is on using the language rather than analysis of the language, teaching grammar implicitly. It also allowed for originality and flexibility in student output of language. It also correlates with the arrival of the PC, making computing much widely available resulting in a boom in the development of software for language learning. The first CALL software in this phase still provided skill practice but not in a drill format, for example, paced reading, text reconstruction and language games but computer remained the tutor. In this phase, however, computers provided context for students to use the language, such as asking for directions to a place. It also allowed for programs not designed for language learning, such as Sim City, Sleuth and Where in the World is Carmen Sandiego? to be used for language learning. However, criticisms of this approach include using the computer in an ad hoc and disconnected manner for more marginal rather than the central aims of language teaching. It usually taught skills such as reading and listening in a compartmentalized way, even if not in a drill fashion.
Integrative/explorative CALL, starting from the 1990’s, tries to address these criticisms by integrating the teaching of language skills into tasks or projects to provide direction and coherence. It also coincides with the development of multimedia technology (providing text, graphics, sound and animation) as well as computer-mediated communication. CALL in this period saw a definitive shift of use of computer for drill and tutorial purposes (computer as a finite authoritative base for a specific task) to a medium for extending education beyond the classroom and reorganizing instruction. Multimedia CALL started with interactive laser videodiscs such as “Montevidisco” (Schneider & Bennion 1984) and “A la rencontre de Philippe” (Fuerstenberg 1993), all of which were simulations of situations where the learner played a key role. These programs later were transferred to CD-ROMs, and new RPGs such as Who is Oscar Lake? made their appearance in a range of different languages.
In multimedia programs, listening is combined with seeing, just like in the real world. Students also control the pace and the path of the interaction. Interaction is in the foreground but many CALL programs also provide links to explanations simultaneously. An example of this is Dustin’s simulation of a foreign student’s arrival in the USA. Programs like this led also to what is called explorative CALL.
More recent research in CALL has favored a learner-centered explorative approach, where students are encouraged to try different possible solutions to a problem, for example the use of concordance programs. This approach is also described as data-driven learning (DDL), a term coined by Tim Johns. See Module 2.4 at the ICT4LT site, Using concordance programs in the Modern Foreign Languages classroom.