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Shanna Farmer The Need for Structure As human beings we have a natural need for structure and organization, which can be evident from the smallest of things to the largest of things. We have organized animals into species, cars into makes and models, and humans into male or female and then by race; in literature, we use genres to classify different works. Basically, at the beginning of this class I knew very little when it came to genre in literature. However, with the handouts and reading, genres are much clearer to me. There are three types of categories within genre, in which readers create expectations that fit that particular genre. So when someone ask, “What book are you reading,” and you tell them ,“A play by Eugene O’Neill,” if they are familiar with O’Neill and his works then they will assume you are reading a tragedy. The three rather expansive genres are: subject genre, representational genre, and narrative genre. However it is important to remember that each work of literature will contain at least one representational, narrative, and subject genre (GH). The first type of genre is subject genre, which refers predominantly to the topic or theme of a literary work; in short, it is what it is about (GH). For example, is it a “special interest” or “audience appeal”(GH)? This means that it makes a connection between the topic of the genre and its readers, and though we do not use it as much in academics, we use it in everyday discussions about other things. For instance, literary genre also goes hand in hand with films. Before we go to the theater or video store we may ask someone, “I want to see a chick-flick/horror/Harrison Ford/Reese Witherspoon movie tonight, what do you suggest”? And you may get a response back such as, “You might like The Notebook/Dracula/Star Wars/Sweet Home Alabama”. Even though some people may not know it, they are using and have a general understanding of what subject genre is, like myself before this class; however the reason it is not used as much in the academic world is because it is not as precise or consistent as the next two genres. The next form of genre is representational genre, which refers to the number and types of voices in a work (GH). For instance, there are three styles of representational genre: Narrator, or single voice, drama, or dialogue, and narrator plus dialogue (GH). Narrator, or single voice, is when one person speaks directly to the audience, the simplest examples being songs, sermons, and lectures (GH). Maybe the most difficult thing to understand about genre is there are not any set rules and regulations that guide writers or directors, simply standards by which to go by. The second and third style of representational genre are able to intermix with each other, as well as the first; therefore, this style allows variety among different works. In a play, you often have a chorus, as in Agamemnon, that give you information about past events or the event at hand, though after the chorus has had its say the Drama, or Dialogue, comes in the form of characters, such as Clytemnestra and Agamemnon, not saying that the chorus cannot be involved in the dialogue between characters, because that does happen. Or there can just be dialogue, as in Mourning Becomes Electra. In MBE, O’Neill uses stage directions in the place of a narrator. It can be argued that Seth and his friends are the chorus; however, they are speaking in dialogue to each other, again not saying the chorus is not allowed in dialogue. So to me, a narrator is absent from MBE. The final form of genre is narrative genre, which is perhaps the one we are most familiar with as students of literature. A narrative genre entails the types of story or plot that a work tells or acts out (GH). For instance, there are four major plot/story lines, which are tragedy, comedy, romance, and satire (GH). However, to begin, each of these are able to encompass elements of the other. A tragedy can have a scene that is comic, or a romance can contain a lot of comedy as well. Basically they are all able to mix, though there are certain standards we look for that make each work what it is. For example, take comedy and romance. A comedy must have certain elements in it that make is a comedy. Normally in a comedy, a work/film begins with a problem or mistake and the action that takes place is meant to resolve the problem. It is important to understand that the problem is typically a misunderstanding rather than a tragic fault (GH). Then in the conclusion the characters come together again in unity, in the form of a marriage, party, or a common meeting place (GH). A romance is different in that the story may begin by everything being unified or in harmony, but when the action begins it is meant to separate the characters or a particular need occurs that needs to be addressed (GH). The action again could be a physical journey that characters have to make, a physical transformation, or characters needing to be rescued (GH). The ending typically ends in “transcendence”, meaning the characters “rise above” the problem or “live happily ever after” (GH). Such as in the popular sitcom Friends, they are forever getting themselves into trouble and then getting out of it, though there is often an element of romance involved in some episodes. The list of example of narrative genres and the hybrids of such are endless. The most important facet of genre that I have learned is that there are no genres that are one hundred percent one specific genre, and that there are elements that are taken out of one and put into another that creates a hybrid of two genres. But, there are guidelines within each category that make a particular work what it is. The study of genre has been fascinating to me, because before I had a good understanding of genre in films and music, but not as well in literature. Now I feel confidant when reading a work of literature to be able to classify it within a particular genre, but to also recognize the elements that have been mix with another genre. *GH- Genres Handout *Time spent- Sunday (6:30-7:30); Monday (9:30-10:20)
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