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Leonardo Da Vinci used vernacular in his work. [citation needed] The term is also applied to works not written in the standard and/or prestige language of their time and place. For example, many authors in Scotland, such as James Kelman and Edwin Morgan have used Scots, even though English is now the more common language of publishing in Scotland.
These commentaries interpreted the text in often strained ways, but established critical and aesthetic criteria, modeled on those of poetry and painting, that gave fiction a new legitimacy. [21] These novels were written in a mixture of vernacular and classical Chinese, [1] though some were more completely vernacular. [22]
Written vernacular Chinese, also known as baihua, comprises forms of written Chinese based on the vernacular varieties of the language spoken throughout China. It is contrasted with Literary Chinese , which was the predominant written form of the language in imperial China until the early 20th century.
After the 14th century, vernacular fiction became popular, at least outside of court circles. Vernacular fiction covered a broader range of subject matter and was longer and more loosely structured than literary fiction. One of the masterpieces of Chinese vernacular fiction is the 18th-century domestic novel Dream of the Red Chamber.
Sanguozhi Pinghua, published between 1321 and 1323. A huaben (Chinese: 话本; pinyin: huàben) is a Chinese short- or medium-length story or extended novella written mostly in vernacular language, sometimes including simple classical language.
[7] In a review of the field of Chinese literature, Robert E. Hegel declared "Wilt L. Idema's studies in Chinese Vernacular Fiction: The Formative Period are definitive statements on vernacular literature in general, on the short story, and on the long pinghua. [8] His most frequent co-author has been Stephen H. West.
It was published in two parts. The first part was published in 1605 and the second in 1615. It might be viewed as a parody of Le Morte d'Arthur (and other examples of the chivalric romance), in that the novel form would be the direct result of poking fun at a collection of heroic folk legends. This is fully in keeping with the spirit of the age ...
Richard Brodhead argues in Cultures of Letters, "Regionalism's representation of vernacular cultures as enclaves of tradition insulated from larger cultural contact is palpably a fiction ... its public function was not just to mourn lost cultures but to purvey a certain story of contemporary cultures and of the relations among them" (121). [3]