Literature/Citable Version

Unlike scholars in certain fields of learning, such as biology, where the boundaries are fairly well defined, those in the field of literature still debate exactly what the term means. When the celebrated 1911 Encyclopaedia Britannica defined literature as “the best expression of the best thought reduced to writing,” few dared question it. Now, though, a century of such questioning has broadened the definition so that it can include nearly any text in any human language. Practically speaking, literature’s present-day definition depends on the perspective from which one regards it: scholars of a scientific and theoretical bent tend to view it descriptively (according to form, function, and genre), while those more aesthetically inclined tend to view it prescriptively (according to traditions of arts and humane letters). One perspective typically mistrusts the other.

Introduction

In its broadest sense, literature came into being with the first use of pictographs, hieroglyphs, cuneiform, or alphabetic scripts, although it is more common to separate out as "literature" only those texts which contain a degree of imaginative, emotive, allegoric, didactic, or descriptive content. Thus, business records, tallies, or lists are not generally included, even though such texts, which can be found in the earliest civilizations, are significant from a historical and archaeological perspective. The earliest literature evolved from the transcription of pre-existing oral traditional narratives, and progressed gradually to a point where such materials were first composed in written form.

Religious texts, while they have of course an entirely different significance to the adherents of the faiths to which they pertain, may also be considered literature when their narrative, figurative, or compositional qualities are foregrounded. The earliest instances of literature, therefore, those termed "ancient", include a variety of texts ranging from the Sumerian Epic of Gilgamesh to the Hebrew Torah, and onward to the Hellenistic Odyssey of Homer. These texts, though clearly recognized as literature, share an origin in pre-literate cultures, and thus predate, in some sense, the modern use of the term. Later in human history, the deliberate writing of imaginary or fanciful texts, disseminated in written form to a literate audience, marks the first fully self-conscious literary traditions. In this context, although still considered ancient, might be placed such compositions as the Latin Aeneid of Virgil, the Chinese Songs of Chu, or the Latin lyrical poetry of Sappho. With improvements in the production and dissemination of written texts, from Roman copyhouses to the invention of the printing press, along with the increase of a literate reading public, a third sense of "literature," and the one most commonly used today, came into being. Specifically, literature encompasses all imaginative writing in any language, as well as essays, criticism, travel writing, biographies, memoirs, diaries, and collections of letters.

Literary Media

Literature was first recorded in pictographic and alphabetic systems of writing, which were either incised on clay tablets or stone, or written with inks or dyes on various flat organic media such as papyrus or parchment. The development of alphabetic systems, in which characters stood for sounds instead of things, by the Phoenecian and Greek cultures, enabled a rapid advancement in the variety and dissemination of written literature. In earliest times, such documents were generally prepared and stored on long sheets rolled into scrolls, but beginning in the second century CE, the codex, a bound set of trimmed sheets with a cover, began to predominate; this is the ancestor of the modern book.

The introduction of paper to Western Europe in the later Middle Ages greatly reduced the cost of written manuscripts, and the invention of movable type in 1450 led to to the printing of books in large numbers, and still further reduction in cost. Further refinements to the printing process, such as machines which could cast whole blocks of type at once, led to the emergence of print as a mass medium in the eighteenth and nineteenth centuries, with new formats such as magazines and newspapers printed in thousands of copies, both for subscribers and for sale at booksellers and newsstands. Genres such as the novel gained tremendous new audiences through appearances in periodical and serial forms, bringing writers such as Poe, Dickens, Verne, and Edgar Rice Burroughs to a mass audience, and establishing literature as a popular medium.

In the later twentieth century, the field of popular literature continued to expand, both through the introduction of mass-market genres such as the dime novel and the illustrated press, and via the new commitment to public education and developing a literary curriculum of standard school texts. Established genres, such as detective fiction and science fiction, gained new audiences through the introduction of the paperback book, printed on inexpensive paper with a thin cardboard wrapper, and sold for a small fraction of the cost of a hardcover book. The large number of young readers led to a great expansion of children's literature and teen literature, as well as to new popular forms such as the comic book, which in recent years has emerged as a medium for adult fiction in the form of graphic novels.

With the advent of new media and technologies in the twentieth and twenty-first centuries, texts are often stored and transmitted electronically, magnetically, or digitally, without ever being printed on paper; they also often include, or are linked to audio, video, or multimedia content. Speech can now also be recorded, stored, and transmitted, so that some literary historians, such as Walter J. Ong, regard this as an age of "secondary orality". Such changes will doubtlessly expand and alter the definition of literature, just as did earlier technological developments.

Formal categories

A formal distinction common to many literary traditions is that between poetry and prose. Although the precise distinction between these two categories varies somewhat among world literatures, and though the boundaries between them have grown more blurred according to certain modern literary theories, it may generally be observed that poetry depends upon a relatively fixed array of metrical and phonological patterns used as repetitive devices, and involves a more densely interconnected arrangement of imagery and metaphor. In Old English poetry, as in the earliest Latin verse, a fixed number of metrical beats, with the alliteration of initial sounds, provides the basic structure, whereas in ancient Greek poetry, the length of the syllables was the primary principle. Rhyme, the assonance of the final sounds of words or lines, is one of the most common and recognizable options of poetic structure. Prose, of course, especially prose described as "poetic", may partake of all these qualities as well, though generally not in such a dense and closely patterned manner. Modern poetry also includes forms such as free verse and concrete poetry, which depart from the strict poetic meter or earlier forms, or attempt to abandon formal constraints altogether.

Prose is a far more inclusive category, and indeed envelops a wide variety of texts, such as business letters, instruction manuals, newpapers, memos, lists, contracts, speeches, and legal documents, which may not be considered literature at all. The earliest epic narratives were poetic in form, and prose was more generally reserved for the writing of history, religious instruction, or descriptive accounts of events or travels. The modern western tradition of literary prose emerged in the later Middle Ages, in texts such as Boccaccio's Decameron, or the prose segments of Chaucer's Canterbury Tales such as the Tale of Melibee, which Chaucer himself describes as "a litel thing in prose". By the time of the Renaissance, literary prose tended to take the form of extended essays, such as Robert Burton's Anatomy of Melancholy, or in narratives now regarded as early antecedents of the novel such as Thomas Nashe's The Unfortunate Traveller. From the eighteenth century onward, literary prose has largely been comprised either of narrative fiction or essays, along with collections of personal letters, biography, and autobiography.

Genres

The evolution of various genres of literature has varied considerably in different languages and cultures, although some very general categories can be outlined. Much early imaginative literature can be classed as epic; within this category one would find texts as various as the Odyssey, the Mahabharata, the Finnish Kalevala, the Elder Edda, or the Táin Bó Cúailnge. epic literature is marked by a strong, central narrative, often focused on the deeds of a single heroic figure, and featuring elaborately detailed accounts of battle. The Greek term "lyric" also has close equivalents in many world literatures; lyric poetry is generally written in short stanzas or strophes, with an emphasis on image and affective emotion. Significant lyric poets in world traditions have included Sappho, Li Po, Kabir, Keats, and Dickinson.

Another early and continuing form, dramatic literature, consists of words and actions to be spoken and performed upon a stage by actors; while it has often been recorded in writing and print, the primary venue for this form of literature is theatrical performance. In ancient Greece, where plays evolved out of the religious observances of Dionysus, the works of Aristophanes, Sophocles, and others retain their force after two millenia. Significant world playwrights include Shakespeare, Molière, Ibsen, Chekhov, and Beckett. Some of the paradigms of the stage extend to those of cinema film, and today film studies are often conjoined academically with the study of literature.

In the past few centuries, the novel has emerged as one of the dominant literary forms of modern literature, combining some features of the epic (such as a strong, central protagonist) with elements of historical narrative, travel writing, and the naturalistic dialogue of plays. Many claim Miguel de Cervantes' Don Quixote (1605, 1615) as the first novel, though some assign it instead to the category of mock epic. Among the great practitioners of the novel over the centuries since have been Austen, Dickens, Tolstoy, Proust, Joyce, and Faulkner. Novels themselves, from their first appearance, have been categorized in a variety of topical or formal sub-genres, such as the picaresque novel or the epistolary novel, as well as broader thematic categories such as science fiction, detective fiction, or fantasy.

National literatures

Although their names imply otherwise, national literatures often emerged before or after the emergence of modern nation-states. Dante, famously, in De Vulgari Eloquentia, his defense of writing in Italian, declared that literary Italian must be "curial", or "of the manner of the Italian court"" - even though, at the time he wrote there was no such singular Italian state. Like Chaucer and other medieval poets, he wrote before the language of his compositions reached its modern form. The writers of the Renaissance were a vital part of the emergence of their respective national literatures, though some, like Sir Thomas More, eschewed their own vernacular in favor of Latin. Even writers whose works now seem essential to their national literature, such as Goethe or Shakespeare, only became legitimate subjects of serious academic consideration very late in the twentieth century, when national vernacular literatures became subjects for schools and universities. Today, at a point when literary works are frequently translated into other languages soon after their publication, and literacy rates around the world are at historic highs, there is a growing sense of an international audience for literature. In addition, as writers from colonized areas take up the languages of their former colonizers, postcolonial literature has emerged as a significant area of new writing.

The study of literature

Literature, at least the vernacular literature of western nations, has only been a recognized subject of academic study since the late nineteenth century. The curriculum of the medieval universities included grammar, but this meant only Latin grammar; in the early nineteenth century, philology was added as a discipline, but this field was far more concerned with the historical relationships between languages than it was with the literature in those languages.

In the United Kingdom, the first instititions to offer instruction in literature were those geared toward the working classes, such as the London Working Men's College, founded in 1854. There, much to their surprise, the bricklayers and artisans of London encountered teachers such as F.J. Furnivall, who opened his classes with the dramatic annoucement that he was about to return a national literature to its citizens, and then commenced reading aloud from Sir Gawain and the Green Knight in Middle English.

In the United States, the study of literature was introduced at normal schools (schools for the preparation of teachers, mostly women at that time), and subsequently at land grant universities, where English literature was given the place assigned at older universities to reading in Latin and Greek. Early professors of English literature, among them Sir Arthur Quiller-Couch and Henry Morley, devoted much of their attention to establishing a canon of suitable texts for study. In the twentieth century, this led to the production of standardized anthologies, such as the Norton Anthology of English Literature.

An academic discipline that engages in the study of literature in an interdisciplinary and international and global context is comparative literature (see, for example, comparative literature scholarship published in CLCWeb: Comparative Literature and Culture http://clcwebjournal.lib.purdue.edu ; see also Totosy de Zepetnek, Steven, Comparative Literature: Theory, Method, Application; Totosy de Zepetnek, Steven, ed., Comparative Literature and Comparative Cultural Studies).

References

• The Cambridge History of English and American Literature (1907-1921). http://www.bartleby.com/cambridge/
• CLCWeb: Comparative Literature and Culture http://clcwebjournal.lib.purdue.edu
• Ong, Walter J. Orality and Literacy: The Technologizing of the Word. New York: Routledge, 2002.
• Totosy de Zepetnek, Steven, Comparative Literature: Theory, Method, Application. Amsterdam: Rodopi, 1998.
• Totosy de Zepetnek, Steven, ed. Comparative Literature and Comparative Cultural Studies. West Lafayette: Purdue UP, 2003.
• Watt, Ian. The Rise of the Novel: Studies in Defoe, Richardson and Fielding. Harmondsworth: Penguin, 1963.