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Literary fiction is a term that distinguishes certain fictional works that possess commonly held qualities to readers outside genre fiction. [citation needed] Literary fiction is any fiction that attempts to engage with one or more truths or questions, hence relevant to a broad scope of humanity as a form of expression.
American writers had long looked to European models for inspiration, but whereas the literary breakthroughs of the mid-19th century came from finding distinctly American styles and themes, writers from this period were finding ways of contributing to a flourishing international literary scene, not as imitators but as equals.
It refers to a group of American literary notables who lived in Paris and other parts of Europe from the time period which saw the end of World War I to the beginning of the Great Depression [97] F. Scott Fitzgerald, Ernest Hemingway, Ezra Pound, Waldo Pierce, John Dos Passos: Stridentism: A Mexican artistic avant-garde movement.
American literary regionalism, often used interchangeably with the term "local color", is a style or genre of writing in the United States that gained popularity in the mid-to-late 19th century and early 20th century.
Alemannisch; Anarâškielâ; Аԥсшәа; العربية; Aragonés; Asturianu; Aymar aru; Azərbaycanca; বাংলা; 閩南語 / Bân-lâm-gú; Башҡортса
Emily Dickinson. American poetry refers to the poetry of the United States.It arose first as efforts by American colonists to add their voices to English poetry in the 17th century, well before the constitutional unification of the Thirteen Colonies (although a strong oral tradition often likened to poetry already existed among Native American societies). [1]
Literature can be described as all of the following: Communication – activity of conveying information. Communication requires a sender, a message, and an intended recipient, although the receiver need not be present or aware of the sender's intent to communicate at the time of communication; thus communication can occur across vast distances in time and space.
It is common for postmodernists to treat serious subjects in a playful and humorous way: for example, the way Heller and Vonnegut address the events of World War II. The central concept of Heller's Catch-22 is the irony of the now-idiomatic "catch-22", and the narrative is structured around a long series of similar ironies.