{"id":59,"date":"2015-11-23T13:18:41","date_gmt":"2015-11-23T13:18:41","guid":{"rendered":"https:\/\/courses.candelalearning.com\/englishcomp2x74x2\/?post_type=chapter&#038;p=59"},"modified":"2017-01-11T17:22:54","modified_gmt":"2017-01-11T17:22:54","slug":"defining-literature","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/chapter\/defining-literature\/","title":{"raw":"Defining Literature","rendered":"Defining Literature"},"content":{"raw":"<b>Literature<\/b>, in its broadest sense, is any written work. Etymologically, the term derives from Latin\u00a0<i>litaritura\/litteratura<\/i> \"writing formed with letters,\" although some definitions include spoken or sung texts. More restrictively, it is writing that possesses literary merit. Literature can be classified according to whether it is fiction or non-fiction and whether it is\u00a0poetry or prose. It can be further distinguished according to major forms such as the novel, short story or drama, and works are often categorized according to historical periods or their adherence to certain aesthetic features or expectations (genre).\r\n\r\nTaken to mean only written works, literature was first produced by some of the world's earliest civilizations\u2014those of Ancient Egypt and Sumeria\u2014as early as the 4th millennium BC; taken to include spoken or sung texts, it originated even earlier, and some of the first written works may have been based on a pre-existing oral tradition. As urban cultures and societies developed, there was a proliferation in the forms of literature. Developments in print technology allowed for literature to be distributed and experienced on an unprecedented scale, which has culminated in the twenty-first century in\u00a0electronic literature.\r\n<h2>Definition<\/h2>\r\nDefinitions of literature have varied over time.\u00a0 In Western Europe prior to the eighteenth century, literature as a term indicated all books and writing.[footnote]Leitch <i>et al.<\/i>, <i>The Norton Anthology of Theory and Criticism<\/i>, 28[\/footnote]\u00a0\u00a0A more restricted sense of the term emerged during the Romantic period, in which it began to demarcate \"imaginative\" literature.[footnote]<span class=\"reference-text\">Ross, \"The Emergence of \"Literature\": Making and Reading the English Canon in the Eighteenth Century,\" 406 &amp;\u00a0<\/span><span class=\"reference-text\">Eagleton, <i>Literary theory: an introduction<\/i>, 16<\/span>[\/footnote]\r\n\r\n<span style=\"font-size: 13.3333px; line-height: 26.6667px;\">\u00a0<\/span>Contemporary debates over what constitutes literature can be seen as returning to the older, more inclusive notion of what constitutes literature. Cultural studies, for instance, takes as its subject of analysis both popular and minority genres, in addition to canonical works.[footnote]Leitch <i>et al.<\/i>, <i>The Norton Anthology of Theory and Criticism<\/i>, 28[\/footnote]\r\n<h2>Major Forms<\/h2>\r\n<h3>Poetry<\/h3>\r\n[caption id=\"attachment_635\" align=\"alignright\" width=\"238\"]<a href=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images\/wp-content\/uploads\/sites\/1370\/2017\/01\/11172221\/Calligramme.jpg\"><img class=\"wp-image-635 size-medium\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images\/wp-content\/uploads\/sites\/1370\/2017\/01\/11172221\/Calligramme-238x300.jpg\" alt=\"French words arranged on a page to form a sketch of a man wearing a hat\" width=\"238\" height=\"300\" \/><\/a> A calligram by Guillaume Apollinaire. These are a type of poem in which the written words are arranged in such a way to produce a visual image.[\/caption]\r\n\r\nPoetry is a form of literary art that uses aesthetic and rhythmic\u00a0qualities of language to evoke meanings in addition to, or in place of, prosaic ostensible meaning (ordinary intended meaning).\u00a0Poetry has traditionally been distinguished from prose by its being set in verse;[footnote]<cite class=\"citation web\">\"poetry, n.\". <i>Oxford English Dictionary<\/i>. OUP<span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">13 February<\/span> 2014<\/span>.<\/cite> (subscription required)[\/footnote]\u00a0prose is cast in\u00a0sentences, poetry in lines; the syntax of prose is dictated by meaning, whereas that of poetry is held across metre or the visual aspects of the poem.[footnote]Preminger, <i>The New Princeton Encyclopedia of Poetry and Poetics<\/i>, 938\u20139[\/footnote]<span style=\"font-size: 13.3333px; line-height: 26.6667px;\">\u00a0<\/span>\r\n\r\nPrior to the nineteenth century, poetry was commonly understood to be something set in metrical lines; accordingly, in 1658 a definition of poetry is \"any kind of subject consisting of Rythm or Verses\".<cite class=\"citation web\"><\/cite>[footnote]<cite class=\"citation web\">\"poetry, n.\". <i>Oxford English Dictionary<\/i>. OUP<span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">13 February<\/span> 2014<\/span>.<\/cite> (subscription required)[\/footnote]\u00a0Possibly as a result of Aristotle's influence (his <i>Poetics<\/i>), \"poetry\" before the nineteenth century was usually less a technical designation for verse than a normative category of fictive or rhetorical art.[footnote]Ross, \"The Emergence of \"Literature\": Making and Reading the English Canon in the Eighteenth Century\", 398[\/footnote]\u00a0As a form it may pre-date literacy, with the earliest works being composed within and sustained by an oral tradition;<cite class=\"citation book\"><\/cite>[footnote]<span class=\"reference-text\"><cite class=\"citation book\">Finnegan, Ruth H. (1977). Oral poetry: its nature, significance, and social context. Indiana University Press. p.\u00a066. &amp;\u00a0<\/cite><\/span><span class=\"reference-text\"><cite class=\"citation journal\">Magoun, Jr., Francis P. (1953). \"Oral-Formulaic Character of Anglo-Saxon Narrative Poetry\".Speculum <b>28<\/b> (3): 446\u201367. doi:10.2307\/2847021<\/cite><\/span>[\/footnote]\u00a0hence it constitutes the earliest example of literature.\r\n<h3>Prose<\/h3>\r\nProse is a form of language that possesses ordinary syntax and natural speech rather than rhythmic structure; in which regard, along with its measurement in sentences rather than lines, it differs from poetry.[footnote]Preminger, <i>The New Princeton Encyclopedia of Poetry and Poetics<\/i>, 938\u20139 &amp;Alison Booth; Kelly J. Mays. \"Glossary: P\".<i>LitWeb, the Norton Introduction to Literature Studyspace<\/i><span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">15 February<\/span> 2014<\/span>.\u00a0[\/footnote]\u00a0On the historical development of prose, Richard Graff notes that \"\r\n<ul>\r\n \t<li><b>Novel<\/b>: a long fictional prose narrative. <cite class=\"citation book\"><\/cite><\/li>\r\n<\/ul>\r\n<ul>\r\n \t<li><b>Novella<\/b>:The novella exists between the novel and short story; the publisher\u00a0Melville House classifies it as \"too short to be a novel, too long to be a short story.\"[footnote]Antrim, Taylor (2010). \"In Praise of Short\". The Daily Beast<span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">15 February<\/span> 2014<\/span>.[\/footnote]<\/li>\r\n \t<li><b>Short story<\/b>: a dilemma in defining the \"short story\" as a literary form is how to, or whether one should, distinguish it from any short narrative<span style=\"font-size: 13.3333px; line-height: 26.6667px;\">.<\/span>\u00a0Apart from its distinct size, various theorists have suggested that the short story has a characteristic subject matter or structure;<cite class=\"citation journal\"><\/cite>[footnote]<span class=\"reference-text\"><cite class=\"citation journal\">Rohrberger, Mary; Dan E. Burns (1982). \"Short Fiction and the Numinous Realm: Another Attempt at Definition\". <i>Modern Fiction Studies<\/i>. XXVIII (6). &amp;\u00a0<\/cite><\/span><span class=\"reference-text\"><cite class=\"citation book\">May, Charles (1995). <i>The Short Story. The Reality of Artifice<\/i>. New York: Twain.<\/cite><\/span>[\/footnote]<i>\u00a0<\/i>these discussions often position the form in some relation to the novel.[footnote]Marie Louise Pratt (1994). Charles May, ed. <i>The Short Story: The Long and the Short of It<\/i>. Athens: Ohio UP.[\/footnote]<\/li>\r\n<\/ul>\r\n<h3>Drama<\/h3>\r\nDrama is literature intended for performance.[footnote]Elam, Kier (1980). <i>The Semiotics of Theatre and Drama<\/i>. London and New York: Methuen. p.\u00a098.ISBN\u00a00-416-72060-9.[\/footnote]","rendered":"<p><b>Literature<\/b>, in its broadest sense, is any written work. Etymologically, the term derives from Latin\u00a0<i>litaritura\/litteratura<\/i> &#8220;writing formed with letters,&#8221; although some definitions include spoken or sung texts. More restrictively, it is writing that possesses literary merit. Literature can be classified according to whether it is fiction or non-fiction and whether it is\u00a0poetry or prose. It can be further distinguished according to major forms such as the novel, short story or drama, and works are often categorized according to historical periods or their adherence to certain aesthetic features or expectations (genre).<\/p>\n<p>Taken to mean only written works, literature was first produced by some of the world&#8217;s earliest civilizations\u2014those of Ancient Egypt and Sumeria\u2014as early as the 4th millennium BC; taken to include spoken or sung texts, it originated even earlier, and some of the first written works may have been based on a pre-existing oral tradition. As urban cultures and societies developed, there was a proliferation in the forms of literature. Developments in print technology allowed for literature to be distributed and experienced on an unprecedented scale, which has culminated in the twenty-first century in\u00a0electronic literature.<\/p>\n<h2>Definition<\/h2>\n<p>Definitions of literature have varied over time.\u00a0 In Western Europe prior to the eighteenth century, literature as a term indicated all books and writing.<a class=\"footnote\" title=\"Leitch et al., The Norton Anthology of Theory and Criticism, 28\" id=\"return-footnote-59-1\" href=\"#footnote-59-1\" aria-label=\"Footnote 1\"><sup class=\"footnote\">[1]<\/sup><\/a>\u00a0\u00a0A more restricted sense of the term emerged during the Romantic period, in which it began to demarcate &#8220;imaginative&#8221; literature.<a class=\"footnote\" title=\"Ross, &quot;The Emergence of &quot;Literature&quot;: Making and Reading the English Canon in the Eighteenth Century,&quot; 406 &amp;\u00a0Eagleton, Literary theory: an introduction, 16\" id=\"return-footnote-59-2\" href=\"#footnote-59-2\" aria-label=\"Footnote 2\"><sup class=\"footnote\">[2]<\/sup><\/a><\/p>\n<p><span style=\"font-size: 13.3333px; line-height: 26.6667px;\">\u00a0<\/span>Contemporary debates over what constitutes literature can be seen as returning to the older, more inclusive notion of what constitutes literature. Cultural studies, for instance, takes as its subject of analysis both popular and minority genres, in addition to canonical works.<a class=\"footnote\" title=\"Leitch et al., The Norton Anthology of Theory and Criticism, 28\" id=\"return-footnote-59-3\" href=\"#footnote-59-3\" aria-label=\"Footnote 3\"><sup class=\"footnote\">[3]<\/sup><\/a><\/p>\n<h2>Major Forms<\/h2>\n<h3>Poetry<\/h3>\n<div id=\"attachment_635\" style=\"width: 248px\" class=\"wp-caption alignright\"><a href=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images\/wp-content\/uploads\/sites\/1370\/2017\/01\/11172221\/Calligramme.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-635\" class=\"wp-image-635 size-medium\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images\/wp-content\/uploads\/sites\/1370\/2017\/01\/11172221\/Calligramme-238x300.jpg\" alt=\"French words arranged on a page to form a sketch of a man wearing a hat\" width=\"238\" height=\"300\" \/><\/a><\/p>\n<p id=\"caption-attachment-635\" class=\"wp-caption-text\">A calligram by Guillaume Apollinaire. These are a type of poem in which the written words are arranged in such a way to produce a visual image.<\/p>\n<\/div>\n<p>Poetry is a form of literary art that uses aesthetic and rhythmic\u00a0qualities of language to evoke meanings in addition to, or in place of, prosaic ostensible meaning (ordinary intended meaning).\u00a0Poetry has traditionally been distinguished from prose by its being set in verse;<a class=\"footnote\" title=\"&quot;poetry, n.&quot;. Oxford English Dictionary. OUP. Retrieved 13 February 2014. (subscription required)\" id=\"return-footnote-59-4\" href=\"#footnote-59-4\" aria-label=\"Footnote 4\"><sup class=\"footnote\">[4]<\/sup><\/a>\u00a0prose is cast in\u00a0sentences, poetry in lines; the syntax of prose is dictated by meaning, whereas that of poetry is held across metre or the visual aspects of the poem.<a class=\"footnote\" title=\"Preminger, The New Princeton Encyclopedia of Poetry and Poetics, 938\u20139\" id=\"return-footnote-59-5\" href=\"#footnote-59-5\" aria-label=\"Footnote 5\"><sup class=\"footnote\">[5]<\/sup><\/a><span style=\"font-size: 13.3333px; line-height: 26.6667px;\">\u00a0<\/span><\/p>\n<p>Prior to the nineteenth century, poetry was commonly understood to be something set in metrical lines; accordingly, in 1658 a definition of poetry is &#8220;any kind of subject consisting of Rythm or Verses&#8221;.<cite class=\"citation web\"><\/cite><a class=\"footnote\" title=\"&quot;poetry, n.&quot;. Oxford English Dictionary. OUP. Retrieved 13 February 2014. (subscription required)\" id=\"return-footnote-59-6\" href=\"#footnote-59-6\" aria-label=\"Footnote 6\"><sup class=\"footnote\">[6]<\/sup><\/a>\u00a0Possibly as a result of Aristotle&#8217;s influence (his <i>Poetics<\/i>), &#8220;poetry&#8221; before the nineteenth century was usually less a technical designation for verse than a normative category of fictive or rhetorical art.<a class=\"footnote\" title=\"Ross, &quot;The Emergence of &quot;Literature&quot;: Making and Reading the English Canon in the Eighteenth Century&quot;, 398\" id=\"return-footnote-59-7\" href=\"#footnote-59-7\" aria-label=\"Footnote 7\"><sup class=\"footnote\">[7]<\/sup><\/a>\u00a0As a form it may pre-date literacy, with the earliest works being composed within and sustained by an oral tradition;<cite class=\"citation book\"><\/cite><a class=\"footnote\" title=\"Finnegan, Ruth H. (1977). Oral poetry: its nature, significance, and social context. Indiana University Press. p.\u00a066. &amp;\u00a0Magoun, Jr., Francis P. (1953). &quot;Oral-Formulaic Character of Anglo-Saxon Narrative Poetry&quot;.Speculum 28 (3): 446\u201367. doi:10.2307\/2847021\" id=\"return-footnote-59-8\" href=\"#footnote-59-8\" aria-label=\"Footnote 8\"><sup class=\"footnote\">[8]<\/sup><\/a>\u00a0hence it constitutes the earliest example of literature.<\/p>\n<h3>Prose<\/h3>\n<p>Prose is a form of language that possesses ordinary syntax and natural speech rather than rhythmic structure; in which regard, along with its measurement in sentences rather than lines, it differs from poetry.<a class=\"footnote\" title=\"Preminger, The New Princeton Encyclopedia of Poetry and Poetics, 938\u20139 &amp;Alison Booth; Kelly J. Mays. &quot;Glossary: P&quot;.LitWeb, the Norton Introduction to Literature Studyspace. Retrieved 15 February 2014.\u00a0\" id=\"return-footnote-59-9\" href=\"#footnote-59-9\" aria-label=\"Footnote 9\"><sup class=\"footnote\">[9]<\/sup><\/a>\u00a0On the historical development of prose, Richard Graff notes that &#8221;<\/p>\n<ul>\n<li><b>Novel<\/b>: a long fictional prose narrative. <cite class=\"citation book\"><\/cite><\/li>\n<\/ul>\n<ul>\n<li><b>Novella<\/b>:The novella exists between the novel and short story; the publisher\u00a0Melville House classifies it as &#8220;too short to be a novel, too long to be a short story.&#8221;<a class=\"footnote\" title=\"Antrim, Taylor (2010). &quot;In Praise of Short&quot;. The Daily Beast. Retrieved 15 February 2014.\" id=\"return-footnote-59-10\" href=\"#footnote-59-10\" aria-label=\"Footnote 10\"><sup class=\"footnote\">[10]<\/sup><\/a><\/li>\n<li><b>Short story<\/b>: a dilemma in defining the &#8220;short story&#8221; as a literary form is how to, or whether one should, distinguish it from any short narrative<span style=\"font-size: 13.3333px; line-height: 26.6667px;\">.<\/span>\u00a0Apart from its distinct size, various theorists have suggested that the short story has a characteristic subject matter or structure;<cite class=\"citation journal\"><\/cite><a class=\"footnote\" title=\"Rohrberger, Mary; Dan E. Burns (1982). &quot;Short Fiction and the Numinous Realm: Another Attempt at Definition&quot;. Modern Fiction Studies. XXVIII (6). &amp;\u00a0May, Charles (1995). The Short Story. The Reality of Artifice. New York: Twain.\" id=\"return-footnote-59-11\" href=\"#footnote-59-11\" aria-label=\"Footnote 11\"><sup class=\"footnote\">[11]<\/sup><\/a><i>\u00a0<\/i>these discussions often position the form in some relation to the novel.<a class=\"footnote\" title=\"Marie Louise Pratt (1994). Charles May, ed. The Short Story: The Long and the Short of It. Athens: Ohio UP.\" id=\"return-footnote-59-12\" href=\"#footnote-59-12\" aria-label=\"Footnote 12\"><sup class=\"footnote\">[12]<\/sup><\/a><\/li>\n<\/ul>\n<h3>Drama<\/h3>\n<p>Drama is literature intended for performance.<a class=\"footnote\" title=\"Elam, Kier (1980). The Semiotics of Theatre and Drama. London and New York: Methuen. p.\u00a098.ISBN\u00a00-416-72060-9.\" id=\"return-footnote-59-13\" href=\"#footnote-59-13\" aria-label=\"Footnote 13\"><sup class=\"footnote\">[13]<\/sup><\/a><\/p>\n\n\t\t\t <section class=\"citations-section\" role=\"contentinfo\">\n\t\t\t <h3>Candela Citations<\/h3>\n\t\t\t\t\t <div>\n\t\t\t\t\t\t <div id=\"citation-list-59\">\n\t\t\t\t\t\t\t <div class=\"licensing\"><div class=\"license-attribution-dropdown-subheading\">CC licensed content, Shared previously<\/div><ul class=\"citation-list\"><li>Literature. <strong>Provided by<\/strong>: Wikipedia. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"https:\/\/en.wikipedia.org\/wiki\/Literature#cite_note-44\">https:\/\/en.wikipedia.org\/wiki\/Literature#cite_note-44<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA: Attribution-ShareAlike<\/a><\/em><\/li><\/ul><div class=\"license-attribution-dropdown-subheading\">Public domain content<\/div><ul class=\"citation-list\"><li>Image of man formed by words. <strong>Authored by<\/strong>: Guillaume Apollinaire. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Calligramme.jpg\">https:\/\/commons.wikimedia.org\/wiki\/File:Calligramme.jpg<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/about\/pdm\">Public Domain: No Known Copyright<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section><hr class=\"before-footnotes clear\" \/><div class=\"footnotes\"><ol><li id=\"footnote-59-1\">Leitch <i>et al.<\/i>, <i>The Norton Anthology of Theory and Criticism<\/i>, 28 <a href=\"#return-footnote-59-1\" class=\"return-footnote\" aria-label=\"Return to footnote 1\">&crarr;<\/a><\/li><li id=\"footnote-59-2\"><span class=\"reference-text\">Ross, \"The Emergence of \"Literature\": Making and Reading the English Canon in the Eighteenth Century,\" 406 &amp;\u00a0<\/span><span class=\"reference-text\">Eagleton, <i>Literary theory: an introduction<\/i>, 16<\/span> <a href=\"#return-footnote-59-2\" class=\"return-footnote\" aria-label=\"Return to footnote 2\">&crarr;<\/a><\/li><li id=\"footnote-59-3\">Leitch <i>et al.<\/i>, <i>The Norton Anthology of Theory and Criticism<\/i>, 28 <a href=\"#return-footnote-59-3\" class=\"return-footnote\" aria-label=\"Return to footnote 3\">&crarr;<\/a><\/li><li id=\"footnote-59-4\"><cite class=\"citation web\">\"poetry, n.\". <i>Oxford English Dictionary<\/i>. OUP<span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">13 February<\/span> 2014<\/span>.<\/cite> (subscription required) <a href=\"#return-footnote-59-4\" class=\"return-footnote\" aria-label=\"Return to footnote 4\">&crarr;<\/a><\/li><li id=\"footnote-59-5\">Preminger, <i>The New Princeton Encyclopedia of Poetry and Poetics<\/i>, 938\u20139 <a href=\"#return-footnote-59-5\" class=\"return-footnote\" aria-label=\"Return to footnote 5\">&crarr;<\/a><\/li><li id=\"footnote-59-6\"><cite class=\"citation web\">\"poetry, n.\". <i>Oxford English Dictionary<\/i>. OUP<span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">13 February<\/span> 2014<\/span>.<\/cite> (subscription required) <a href=\"#return-footnote-59-6\" class=\"return-footnote\" aria-label=\"Return to footnote 6\">&crarr;<\/a><\/li><li id=\"footnote-59-7\">Ross, \"The Emergence of \"Literature\": Making and Reading the English Canon in the Eighteenth Century\", 398 <a href=\"#return-footnote-59-7\" class=\"return-footnote\" aria-label=\"Return to footnote 7\">&crarr;<\/a><\/li><li id=\"footnote-59-8\"><span class=\"reference-text\"><cite class=\"citation book\">Finnegan, Ruth H. (1977). Oral poetry: its nature, significance, and social context. Indiana University Press. p.\u00a066. &amp;\u00a0<\/cite><\/span><span class=\"reference-text\"><cite class=\"citation journal\">Magoun, Jr., Francis P. (1953). \"Oral-Formulaic Character of Anglo-Saxon Narrative Poetry\".Speculum <b>28<\/b> (3): 446\u201367. doi:10.2307\/2847021<\/cite><\/span> <a href=\"#return-footnote-59-8\" class=\"return-footnote\" aria-label=\"Return to footnote 8\">&crarr;<\/a><\/li><li id=\"footnote-59-9\">Preminger, <i>The New Princeton Encyclopedia of Poetry and Poetics<\/i>, 938\u20139 &amp;Alison Booth; Kelly J. Mays. \"Glossary: P\".<i>LitWeb, the Norton Introduction to Literature Studyspace<\/i><span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">15 February<\/span> 2014<\/span>.\u00a0 <a href=\"#return-footnote-59-9\" class=\"return-footnote\" aria-label=\"Return to footnote 9\">&crarr;<\/a><\/li><li id=\"footnote-59-10\">Antrim, Taylor (2010). \"In Praise of Short\". The Daily Beast<span class=\"reference-accessdate\">. Retrieved <span class=\"nowrap\">15 February<\/span> 2014<\/span>. <a href=\"#return-footnote-59-10\" class=\"return-footnote\" aria-label=\"Return to footnote 10\">&crarr;<\/a><\/li><li id=\"footnote-59-11\"><span class=\"reference-text\"><cite class=\"citation journal\">Rohrberger, Mary; Dan E. Burns (1982). \"Short Fiction and the Numinous Realm: Another Attempt at Definition\". <i>Modern Fiction Studies<\/i>. XXVIII (6). &amp;\u00a0<\/cite><\/span><span class=\"reference-text\"><cite class=\"citation book\">May, Charles (1995). <i>The Short Story. The Reality of Artifice<\/i>. New York: Twain.<\/cite><\/span> <a href=\"#return-footnote-59-11\" class=\"return-footnote\" aria-label=\"Return to footnote 11\">&crarr;<\/a><\/li><li id=\"footnote-59-12\">Marie Louise Pratt (1994). Charles May, ed. <i>The Short Story: The Long and the Short of It<\/i>. Athens: Ohio UP. <a href=\"#return-footnote-59-12\" class=\"return-footnote\" aria-label=\"Return to footnote 12\">&crarr;<\/a><\/li><li id=\"footnote-59-13\">Elam, Kier (1980). <i>The Semiotics of Theatre and Drama<\/i>. London and New York: Methuen. p.\u00a098.ISBN\u00a00-416-72060-9. <a href=\"#return-footnote-59-13\" class=\"return-footnote\" aria-label=\"Return to footnote 13\">&crarr;<\/a><\/li><\/ol><\/div>","protected":false},"author":277,"menu_order":1,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"Literature\",\"author\":\"\",\"organization\":\"Wikipedia\",\"url\":\"https:\/\/en.wikipedia.org\/wiki\/Literature#cite_note-44\",\"project\":\"\",\"license\":\"cc-by-sa\",\"license_terms\":\"\"},{\"type\":\"pd\",\"description\":\"Image of man formed by words\",\"author\":\"Guillaume Apollinaire\",\"organization\":\"\",\"url\":\"https:\/\/commons.wikimedia.org\/wiki\/File:Calligramme.jpg\",\"project\":\"\",\"license\":\"pd\",\"license_terms\":\"\"}]","CANDELA_OUTCOMES_GUID":"","pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-59","chapter","type-chapter","status-publish","hentry"],"part":240,"_links":{"self":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/59","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/users\/277"}],"version-history":[{"count":7,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/59\/revisions"}],"predecessor-version":[{"id":637,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/59\/revisions\/637"}],"part":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/parts\/240"}],"metadata":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapters\/59\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/media?parent=59"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/pressbooks\/v2\/chapter-type?post=59"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/contributor?post=59"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/courses.lumenlearning.com\/suny-eng-102-college-writing-ii\/wp-json\/wp\/v2\/license?post=59"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}