Writing a literature review is a crucial part of any research paper. It involves summarizing and synthesizing the existing research on a particular topic to provide a comprehensive overview of what is known and what gaps exist. This guide will walk you through writing a literature review, offering practical tips and insights to help you create a thorough and compelling review.
Introduction to Literature Reviews
Importance of a Literature Review
A literature review plays a vital role in setting the foundation for a research paper. It helps to contextualize your research within the existing body of knowledge and demonstrates your understanding of the topic.
Purpose of a Literature Review
The primary purposes of a literature review are to:
Provide a background for the research topic.
Identify gaps in the current knowledge.
Establish the importance of the research.
Highlight key theories and methodologies.
Types of Literature Reviews
There are various types of literature reviews, including:
Narrative Reviews: Broad overviews of a topic.
Systematic Reviews: Detailed and comprehensive analyses of all available studies on a specific topic.
Meta-Analyses: Statistical analyses combining results from multiple studies.
Understanding the Scope of a Literature Review
Defining the Scope
The scope of your literature review should be clearly defined to ensure it is focused and relevant. Consider the breadth and depth of the topic and set boundaries accordingly.
Narrowing the Focus
To narrow the focus of your literature review, consider:
Specific research questions.
Key themes or variables.
Temporal and geographical limitations.
Conducting a Comprehensive Literature Search
Databases for Literature Search
Utilize various databases to find relevant literature, such as:
PubMed
Google Scholar
JSTOR
Scopus
Researchgate
Keywords and Boolean Operators
Use specific keywords and Boolean operators (AND, OR, NOT) to refine your search and find the most relevant sources.
Evaluating Sources for Relevance and Quality
Criteria for Evaluation
Evaluate sources based on the following:
Relevance to your research question.
Quality and credibility of the source.
Publication date to ensure up-to-date information.
Peer-reviewed Sources
Focus on peer-reviewed journals as they offer validated and credible research.
Organizing Your Literature Review
Thematic Approach
Organize literature by themes or topics to show different perspectives on a subject.
Chronological Approach
Arrange literature chronologically to demonstrate the evolution of research on a topic.
Methodological Approach
Group studies are based on the methodologies used to highlight different research approaches.
Writing the Introduction of the Literature Review
Setting the Context
Begin your literature review by providing background information on the topic and setting the context for your research.
Stating the Objectives
Clearly state the objectives of your literature review to guide the reader on what to expect.
Summarizing and Synthesizing Literature
Identifying Trends, Contradictions, and Gaps
Summarize the key findings of the literature and identify any trends, contradictions, and gaps that exist in the current research.
Critical Analysis in a Literature Review
Evaluating Arguments
Critically analyze the arguments presented in the literature, assessing their strengths and weaknesses.
Assessing Methodologies
Evaluate the methodologies used in the studies to determine their validity and reliability.
Using Evidence to Support Your Review
Citing Sources
Cite your sources accurately to give credit to the original authors and strengthen your arguments.
Integrating Quotations
Use quotations from the literature to support your analysis and provide evidence for your claims.
Writing the Body of the Literature Review
Structuring Paragraphs
Structure your paragraphs logically, with each paragraph focusing on a specific aspect of the literature review.
Ensuring Logical Flow
Ensure there is a logical flow between paragraphs and sections to make your literature review easy to follow.
Concluding the Literature Review
Summarizing Key Findings
Summarize the key findings from the literature and how they relate to your research.
Highlighting Gaps
Highlight any gaps in the literature that your research aims to address.
Formatting and Citation Styles
APA Style
Follow APA style guidelines for formatting and citing sources.
MLA Style
Use MLA style for humanities-based research papers.
Chicago Style
Chicago style is often used for history and social sciences papers.
Common Pitfalls to Avoid
Bias in Literature Selection
Avoid bias by selecting a diverse range of sources and perspectives.
Over-reliance on Certain Sources
Do not rely too heavily on a single source or author; aim for a balanced review.
Revising and Editing Your Literature Review
Proofreading
Proofread your literature review for grammatical and typographical errors.
Peer Feedback
Seek feedback from peers or mentors to improve the quality of your review.
Tools and Resources for Literature Reviews
Reference Management Software
Use software like EndNote or Zotero to manage your references and citations.
Online Resources
Utilize online resources such as academic writing centers and guides.
Case Study: Sample Literature Review
Analysis of a Published Review
Analyze a published literature review to understand its structure and approach.
Integrating Literature Review in a Research Paper
Connecting to Research Questions
Ensure your literature review is closely connected to your research questions and hypotheses.
Framing Hypotheses
Use the literature review to frame your research hypotheses and justify their significance.
Frequently Asked Questions
What is the main purpose of a literature review?
The main purpose is to provide a comprehensive overview of existing research, identify gaps, and establish the context for your own research.
How do I choose which sources to include in my literature review?
Choose sources based on relevance, credibility, and contribution to your research topic.
What are common mistakes to avoid in a literature review?
Common mistakes include lack of focus, bias in source selection, and poor organization.
How should I structure my literature review?
Structure it using thematic, chronological, or methodological approaches to ensure clarity and logical flow.
Why is critical analysis important in a literature review?
Critical analysis allows you to evaluate the validity of the research and identify strengths and weaknesses in the literature.
How can reference management software help in writing a literature review?
It helps organize and format references accurately, saving time and ensuring consistency.
Conclusion
Writing a good literature review is essential for any research paper. It requires careful planning, comprehensive research, and critical analysis. By following the steps outlined in this guide, you can create a literature review that provides valuable insights and sets a strong foundation for your research.
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Figurative language in literature enhances the depth and richness of a text by implying meanings beyond the literal words. This connotative language invites readers to explore deeper interpretations and emotions, often evoking imagery and symbolism. Unlike denotative language, which communicates clear and direct meanings, figurative language relies on metaphor, simile, and other literary devices to convey abstract concepts. By using figurative language, authors create a more engaging and thought-provoking experience for the reader.
Hence, for the interpretation to obtain meaning in any literary work, it has to be done through;
Association
Context
Impact
Figurative language includes the following;
Riddles
Idioms
Figures of speech
Proverbs
Imagery
Riddles
In literature, a riddle is a type of puzzle or enigmatic statement that requires creative and critical thinking to solve. It often involves a question or description that has a hidden meaning, challenging the reader or listener to decipher its true intent. Riddles are used to engage the audience, encourage deeper thought, and can be a playful yet intellectual exercise. They appear in various literary works, from ancient texts and folklore to modern novels and poetry, serving to add layers of mystery and intrigue. Here are three examples of riddles:
“I speak without a mouth and hear without ears. I have no body, but I come alive with the wind. What am I?” (Answer: An echo)
“I’m light as a feather, yet the strongest man can’t hold me for much more than a minute. What am I?” (Answer: Breath)
“I have keys but no locks. I have space but no room. You can enter, but you can’t go outside. What am I?” (Answer: A keyboard)
Idioms
In literature, idioms are phrases or expressions that have figurative meanings different from their literal interpretations, often rooted in cultural or historical context. These expressions add depth, color, and relatability to the text, enhancing the reader’s engagement by invoking shared knowledge or common experiences. Idioms can convey complex ideas succinctly and often contribute to character development, setting the tone, or emphasizing themes. For example:
“break the ice” means to initiate conversation in a social setting,
“kick the bucket” is a colloquial way to refer to someone dying,
“spill the beans” implies revealing a secret and
“under the weather” describes feeling ill or unwell.
Figures of Speech
Figures of speech are literary devices that use language to compare or represent one thing in terms of another, often to create vivid imagery or to emphasize particular qualities. These devices include metaphors, similes, and personifications, where a direct comparison, like “time is a thief,” or a resemblance, such as “as brave as a lion,” adds depth and meaning to the text. By employing figures of speech, writers can convey complex ideas more effectively and evoke stronger emotional responses from their readers. There are many figures of speech in literature; below are some of them;
Simile
Metaphor
Symbolism
Personification
Hyperbole
Euphemism
Metonymy
Irony
Satire
Sarcasm
Onomatopoeia
Depersonification
Apostrophe
Paradox
Allusion
Synecdoche
Oxymoron
Allegory
Understatement
Simile
Similes are comparisons of two unlike things using conjunctions. They are indirect relationships in which one thing or idea is expressed as being similar to another. Similes usually contain the words “like” or “as,” but not always.
For example;
As busy as a bee – This simile compares someone who is very busy and active to a bee, known for its industrious nature.
Her smile was as bright as the sun – This simile likens the brightness and warmth of a person’s smile to the sun.
He fought like a lion – This simile describes someone’s bravery and strength in a fight, comparing them to the fierce and powerful lion.
Metaphor
The figure of speech directly compares two, unlike things without using conjunctions. For example;
Time is a thief – This metaphor suggests that time steals moments from our lives, emphasizing the fleeting nature of time and its impact on our experiences.
The world is a stage – This metaphor compares the world to a stage, implying that life is a performance and people are actors playing their parts.
Symbolism
Symbolism is the use of specific symbols, ideas, objects, or events to represent/suggest or stand for something else. For example;
The dove as a symbol of peace – In literature and various cultures, the dove is often used to represent peace, tranquility, and reconciliation.
The green light in “The Great Gatsby” – In F. Scott Fitzgerald’s novel, the green light at the end of Daisy’s dock symbolizes Gatsby’s hopes and dreams for the future, as well as the broader theme of the American Dream.
The raven in Edgar Allan Poe’s “The Raven” – The raven in this poem symbolizes death and mourning, serving as a constant reminder of the narrator’s sorrow and loss.
Personification
It is the giving of attributes to inanimate that they do not deserve (inanimate means non-animals, e.g., stones, trees, etc.) or
This is a figure of speech that gives or endows objects, animals, ideas, or things the ability to do things like human beings.
For example;
Hyena said, let me eat
All the birds sang sorrowfully
The mountain rose majestically
Hyperbole/overstatement
is a figure of speech that involves an exaggeration of things, ideas or events. For example;
“I’m so hungry I could eat a horse.” – This hyperbole exaggerates the speaker’s hunger to an extreme degree, emphasizing how very hungry they feel.
“I’ve told you a million times.” – This hyperbole exaggerates the number of times something has been said, emphasizing the speaker’s frustration.
“He runs faster than the wind” – This hyperbole exaggerates a person’s running speed, suggesting they are extraordinarily fast.
Euphemism
is a figure of speech that is used to reduce the harshness of words that could be spoken in public. For example;
“Passed away” instead of “died” – This euphemism is often used to soften the harsh reality of death.
“Economical with the truth” instead of “lying” – This phrase is used to imply that someone is not being completely honest without directly accusing them of lying.
“Let go” instead of “fired” – This euphemism is used to make the act of terminating someone’s employment sound less harsh.
“Senior citizen” instead of “old person” – This phrase is used to show respect and politeness when referring to older individuals.
Metonymy
This is a figure of speech characterized by the substitution of one item closely related to another. For example;
“The White House issued a statement.” – Here, “The White House” is used as a metonymy for the President and their administration, representing the executive branch of the U.S. government.
“The pen is mightier than the sword” – In this phrase, “the pen” represents writing or diplomacy, and “the sword” represents military force or violence, using metonymy to convey the power of communication over warfare.
Irony
Irony is the figure of speech that tells/speaks the opposite of what is meant to be. It is where an event that occurs is unexpected and absurd or mocking in opposition to what is expected or appropriate. For example;
A fire station burns down – This is situational irony because one would expect a fire station, a place designed to combat fires, to be the least likely place to burn down.
A traffic cop gets his license suspended for unpaid parking tickets – This is ironic because the very person responsible for enforcing traffic laws is found guilty of violating them.
Satire
It is a figure of speech or literary term that uses humor or wit to ridicule human vices, follies, or weaknesses. It is used to improve human institutions or humanity. Some examples are:
“Gulliver’s Travels” by Jonathan Swift – This novel satirizes various aspects of human nature, society, and politics through the adventures of Lemuel Gulliver, who encounters bizarre and absurd societies that reflect and critique contemporary issues.
“The Daily Show” with Trevor Noah – This television program uses humor and irony to satirize current events, politics, and media, often highlighting the absurdities and contradictions in public discourse and governmental actions.
“The Importance of Being Earnest” by Oscar Wilde – This play satirizes the social conventions, hypocrisies, and trivialities of the Victorian upper class, using wit and irony to expose the superficiality of societal norms and behaviors.
Sarcasm
This is a figure of speech that uses language and inflicting, wounding as well as tormenting a person. For example;
“Oh great, another rainy day. Just what I needed.” – This sarcastic remark implies the speaker is frustrated by the rain, even though the words suggest they are pleased.
“Nice job, Einstein,” said someone who has made a simple mistake – This sarcastic comment ironically praises someone by comparing them to the genius Albert Einstein when in fact, they have done something foolish.
“Yeah, because staying up all night before an exam is such a brilliant idea,” said someone who procrastinated studying – This sarcastic statement mocks the poor decision to stay up all night instead of preparing in a timely manner.
Onomatopoeia
Onomatopoeia refers to the formation of words, which refers to the sounds produced by the originator of the words. For example;
“Buzz” – This word imitates the sound of a bee or other insects.
“Splash” – This word represents the sound of something hitting the water.
“Bang” – This word mimics the sound of a loud explosion or a gunshot.
Depersonification
This is a figure of speech that gives a human being the inanimate (non-human) characteristics or behavior. For example;
“He was a machine, working tirelessly without any sign of fatigue.” – This description likens a human to a machine, emphasizing their relentless and mechanical work ethic.
“She felt like a cog in the wheel, just another part of the system.” – This phrase dehumanizes a person by comparing them to a mere mechanical part, highlighting their lack of individuality within a larger organization.
“In the crowd, he felt like a mere shadow, unnoticed and insignificant.” – This expression describes a person as a shadow, suggesting a lack of presence or importance.
Apostrophe
This is an explanation in which a person is addressing an absence or dead human being or a non-human creature as if they can hear or reply. For example;
“O Death, where is thy sting?” – In this example, the speaker addresses Death directly, personifying it and questioning its power.
“Twinkle, twinkle, little star, how I wonder what you are!” – The speaker addresses the star, treating it as if it could respond to their curiosity.
“O, Romeo, Romeo, wherefore art thou Romeo?” – In Shakespeare’s “Romeo and Juliet,” Juliet addresses Romeo even though he is not present, expressing her longing and confusion.
Paradox
This is a contradictory statement that has some truth when interpreted, where a situation is created that cannot possibly exist because different elements of it cancel each other out.
“Less is more.” – This paradoxical statement suggests that simplicity can lead to greater impact or effectiveness, even though “less” and “more” are opposites.
“I must be cruel to be kind.” – In Shakespeare’s “Hamlet,” this statement implies that harsh actions can sometimes be necessary to achieve a benevolent outcome.
“The beginning of the end.” – This phrase indicates that the start of something is simultaneously leading to its conclusion, combining contradictory ideas.
“This is the only constant.” – This statement suggests that change, which is typically considered variable and unpredictable, is actually the only thing that consistently occurs.
Allusion
Allusion is the comparison of an ordinary person or event with a past famous or notorious person or event. For example;
“He has the Midas touch.” – This allusion refers to King Midas from Greek mythology, who could turn everything he touched into gold, implying that someone has a talent for making money or achieving success.
“She met her Waterloo.” – This allusion references the Battle of Waterloo, where Napoleon was defeated, suggesting that someone has encountered a significant and decisive defeat.
“Don’t be a Scrooge.” – This allusion refers to Ebenezer Scrooge from Charles Dickens’s “A Christmas Carol,” implying that someone is being miserly or uncharitable.
Synecdoche
Synecdoche is the substitution of a meaning where a part of an entity is mentioned to mean the whole entity or the whole entity is mentioned to mean its part. For example;
“All hands on deck” – This phrase uses “hands” to refer to the sailors or crew members, indicating that everyone is needed to help.
“Nice wheels!” – Here, “wheels” refers to the entire car, not just the wheels themselves.
“The White House issued a statement” – “The White House” represents the President and their administration, rather than the building itself.
“He has a good head on his shoulders” – This phrase uses “head” to represent the person’s intelligence or wisdom, rather than just the physical part of the body.
Oxymoron
An oxymoron is a statement in which elements of opposite meanings are used. For example;
“Deafening silence” – This oxymoron combines two contradictory terms, “deafening” (extremely loud) and “silence” (complete absence of sound), to emphasize the profound quietness of a situation.
“Bittersweet” – This oxymoron merges “bitter” (having a sharp, unpleasant taste or experience) and “sweet” (pleasant or enjoyable) to describe an experience that has both positive and negative aspects simultaneously.
Allegory
Allegory is a story with two meanings, one open and direct meaning, and another indirect, hidden but intended meaning, where every aspect of a story is representative, usually symbolic, of something else, usually a larger abstract concept or essential historical/geopolitical event.
“Animal Farm” by George Orwell – This novel is an allegory for the Russian Revolution and the rise of the Soviet Union, with farm animals representing key figures and groups from this historical period.
“The Allegory of the Cave” by Plato – In this philosophical work, Plato describes prisoners in a cave who perceive shadows on the wall as reality, representing the journey from ignorance to enlightenment and the effects of education on human perception.
“The Pilgrim’s Progress” by John Bunyan – This story is an allegory of the Christian journey of faith, depicting the protagonist, Christian, as he travels from the City of Destruction to the Celestial City, representing the path to spiritual salvation.
Understatement/litotes
This is a figure of speech that describes or represents something smaller or less significant than it really is. Consider the examples below;
“It’s just a scratch,” said about a large dent in a car – This understatement downplays the severity of the damage.
“He’s not too bad at cooking,” said a professional chef – This understatement modestly describes someone who is exceptionally skilled in the culinary arts.
“We had a bit of rain,” said after a heavy storm or flood – This understatement minimizes the extent of the rainfall and its potential impact.
Proverbs
In literature, a proverb is a concise, commonly known expression that imparts wisdom or advice based on cultural experience and general truths. These short, pithy sayings often embody traditional beliefs or common sense observations, serving as a means of conveying moral lessons or practical guidelines through memorable and easily understood language. Writers incorporate proverbs to lend authenticity, cultural context, and universality to their narratives, connecting readers with shared human experiences and insights. By embedding these time-honored adages, literature not only reflects societal values but also perpetuates them across generations.
Examples of proverbs
“Actions speak louder than words.” – This proverb emphasizes that what people do is more important and revealing than what they say.
“The early bird catches the worm.” – This saying advises that success comes to those who prepare well and put in effort early.
“A picture is worth a thousand words.” – This proverb suggests that complex ideas can be conveyed more effectively with images than with words.
“You can’t judge a book by its cover.” – This proverb warns against forming opinions about something or someone based solely on appearances.
Imagery
Figurative language paints a mental picture in the reader/listener’s mind when it is used.
Others also define imagery as the use of language to depict descriptive objects, activities, or even abstract concepts. Imagery, on the other hand, refers to the use of language to vividly describe something, employing words to represent and evoke sensory experiences, such as visual and auditory sensations. It also pertains to distinct and repetitive categories of visual representations, such as depictions of food and depictions of nature.
It involves mental picture language, for example,
“Her body has unusual black, like soot
With terrifying rashes,
And chronic sores.
She is getting thinner, thinner and thinner
Then a mosquito body.”
When a person reads the above verses, he/she may imagine a person who is thinner or becoming thinner than a mosquito and whose body is terribly destroyed by rashes and black scars like soot.
PRACTICAL ANALYSIS/CRITICISM OF POEMS
There are several things that you are required to consider when you are analyzing a poem. The following are important things to consider;
TOOLS:
poem
A dictionary
The detailed checklist for analyzing poetry
THE DETAILED CHECKLIST
This is the list of procedures and technicalities to be employed/considered in poetry analysis. They include the following;
i. The title of a poem: The title sometimes may help you get a clue about what the poem is about. It is also more helpful to the reader in predicting the content of a given poem. However, it is not necessarily that every title is capable of suggesting the content of the poem, as titles are ironical in nature.
ii. Form/structure: this refers to how the poem is construed specifically in considering the verses and/or stanzas it contains. It may have fourteen or fewer verses, perhaps.
iii. General message/content: this is referred to as the core message a poem contains.
iv. Other possible themes are supplementary issues discussed in a poem. They are sometimes known as motifs.
v. The speaker/persona: this is the one who speaks in a poem. He/she may be a passive person who only narrates about a problem/situation without him/herself being affected by it. Also, he/she can be an active person who is directly affected by the topic of discussion.
vi. Language use/diction: This refers to the way language is used to mold a poem. This is so crucial in Literature; Language use is very influential in molding the message the artist wants to convey. It includes the level of formality (i.e. formal or informal/standard or non-standard), figures of speech, and imagery.
vii. Musical devices; here, a reader ought to pay much attention to issues like rhyme, rhythm, refrain, assonance, consonance, alliteration, reiteration, anadiplosis, parallelism etc.
viii. Tone/mood/attitude of the persona: Understanding tone/mood/attitude can help a reader determine the message a poet intends to convey to his/her audience.
ix. Relevance of the poem: A reader is supposed to relate the motifs to his/her contemporary society. The poem may only be relevant if it reflects the social reality in the reader’s society.
WORKED EXAMPLES ON POEMS’ CRITICAL APPRECIATION
EAT MORE by Joe Corrie
Eat more fruit, the slogan says
More fish, more beef, more bread
But I’m on unemployment pay
My third year now, and Wed.
Also, I wonder when I will see
The slogan when I pass
The only one that would suit me
Eat more bloody grass.
CRITICAL CRITICISM
i. Who speaks in the poem?
The one who speaks in this poem is an active person who is directly affected by unemployment and he is complaining about eating a balanced diet while he cannot afford it due to his poor financial position.
ii. What is the tone/mood/attitude of the speaker?
The persona’s tone/mood/attitude is sadness/angry (anger) and seriousness because he is complaining about the situation of unemployment that makes him fail to afford to eat a balanced diet.
iii. How is the poem organized (structured)?
The poem is organized into two stanzas, with four verses in each stanza.
iv. Comment on the Language use
The Language used in a poem is ordinary or standard Language because it uses the common words. Also it follows grammatical rules like punctuation.
However, there is the use of figurative language, which includes the following;
Imagery: This can be depicted by the description of the slogan and the diet contents, specifically in the first stanza.
Figures of speech: there are a lot of figures of speech depicted in this poem, and they include;
Symbolism, e.g., “bloody grass” to symbolize the lower class (poor) and “fish, beef and bread” to symbolize the upper class in the society (rich) as well as the balanced diet.
Personification is vividly seen in the first verse of the first stanza as the poet says,
“Eat more fruit, the slogan says
More fish, more beef, more bread.”
v. What is the content/general idea/topic of the poem?
The general idea/content of the poem is unemployment, which results in poverty, exploitation, protest, conflict, etc.
vi. What are the poetic features used in this poem?
Different poetic features used in this poem include the following;
o Rhyme: the rhymes used are; “abab” rhyming scheme in the the first stanza and “cdcd” rhymes in the second stanza/last stanza.
o Repetition of similar sounds, e.g.
The alliteration of “m” and “b” in the second verse of the first stanza
More fish, more beef, more bread
Reiteration: eat, more, slogan.
Consonance, e.g. “d” in the second and fourth stanza of the first stanza;
“Eat more fruit, the slogan says
More fish, more beef, more bread
But I’m on unemployment pay
My third year now and Wed.”
o Assonance; this is seen in the second verse of the first stanza as shown below;
“Eat more fruit, the slogan says
More fish, more beef, more bread
————————————– ”
vii. What is the type of this poem?
It is a lyric poem that is short and expresses strong feelings/ideas of a persona.
viii. Is the poem relevant to your contemporary society?
The poem is so relevant to our contemporary society as in most cases people in power insist the implementation of different slogans without even considering their affordability to the common people.
Frequently Asked Questions
What is figurative language?
Figurative language uses figures of speech to be more effective, persuasive, and impactful, going beyond the literal meaning of words. Why is figurative language important in literature?
It enriches the text, evokes emotions, and creates vivid imagery, making the reading experience more engaging. How can one identify figurative language in a text?
Look for comparisons, exaggerations, and expressions that convey meanings beyond the literal interpretation of words. What are some common types of figurative language?
Common types include similes, metaphors, personification, hyperbole, onomatopoeia, oxymorons, idioms, alliteration, assonance, and euphemisms. Can figurative language be used in non-fiction?
Yes, figurative language can enhance non-fiction by making complex ideas more understandable and engaging. How does figurative language affect the reader?
It evokes emotions, creates vivid imagery, and enhances engagement with the text.
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Etymologically, the term Literature comes from the Latin word “Litteraturae,” which means writings. In general, Literature is applied to all fields, including Philosophical and historical writings. However, in literature, it is used to designate fictional and imaginative writings such as poetry, fiction, and drama.
Therefore, Literature is a work of art expressed in words using a Language creatively to express human realities.
IMPORTANCE OF LANGUAGE IN LITERATURE
Language is very important in literature as words are used creatively as raw materials for structuring literary works.
Language must always be used as a communication channel to convey the desired ideas or messages.
Language sets literature apart from other artistic mediums and from everyday works.
The History of Literature
Ancient Literature: The origins of literature can be traced back to ancient civilizations. The Epic of Gilgamesh, one of the oldest known works, dates back to ancient Mesopotamia. Similarly, ancient Egyptian, Indian, Chinese, and Greek literature laid the foundations for many literary traditions. These early works often explored themes of heroism, morality, and the divine, using poetry and prose to convey stories and philosophical ideas.
Medieval Literature: During the medieval period, literature was dominated by religious themes and texts. Works such as “Beowulf” and “The Divine Comedy” reflect the values and beliefs of their time. The use of vernacular languages became more common, broadening the audience for literary works beyond the educated elite who understood Latin.
Renaissance Literature: The Renaissance was a period of rebirth for literature, marked by a renewed interest in classical antiquity. Figures like William Shakespeare, Dante Alighieri, and Geoffrey Chaucer created works that explored human nature, society, and the complexities of life. This period also saw the rise of the printing press, which made literature more accessible to the masses.
Modern Literature: Modern literature, emerging in the late 19th and early 20th centuries, often broke away from traditional forms and subjects. Authors like James Joyce, Virginia Woolf, and Franz Kafka experimented with narrative techniques and themes, exploring the inner workings of the mind and the complexities of modern life. This period also saw the rise of various literary movements, each contributing to the richness of modern literary landscapes.
This is literature presented through oral expressions. It was mostly used before the invention of writing.
TYPES OF ORAL LITERATURE
The Folk Tale: This short story has been told verbally from one generation to the next, with humans serving as the primary characters in the tale.
The legend: it is a narrative passed down from generation to generation, particularly one that may or may not be genuine, but it does have a historical origin or foundation.
Myths: These are tales that have their roots in ancient times, particularly those that deal with concepts or beliefs concerning the genesis of objects, events, or races.
Fables are a type of ethical narrative that is typically told in the form of a short story and frequently includes animals as the main protagonists.
Anecdote: The majority of the time, this is a reference to the reported event that occurred in the life of a significant individual and ought to assert that there is some truth to it.
Epics: These are lengthy narrative poems written in an elevated form. They depict characters of high positions in adventures by focusing on their relationship to a core heroic person and the development of episodes.
Ballads: These are a type of verse that can be sung or recited, and they are distinguished by the theatrical presentation of the verse in the form of a straightforward tale.
Riddles: These are enigmatic inquiries, assertions, or depictions, particularly designed to assess the ingenuity of those seeking to unravel them. For example, it walks on four legs in the morning, two legs at noon, and three legs in the evening- a human being.
Proverbs: These are concise and widely recognized expressions that convey a universal truth or offer guidance. Or are compact fixed statements that imply question and answer?
Idioms: These are phrases or statements that have a meaning that cannot be understood by looking at the individual words. Instead, they must be learned as a whole.
WRITTEN LITERATURE CLASSIFICATION: PROMINENT GENRES OF LITERATURE
A: PROSE/ NOVEL
A novel is a lengthy work of fiction that presents characters and actions as reflections of actual life inside a plot of varying degrees of intricacy.
FEATURES OF A NOVEL
It is featured by fictive narrations. Novels are characterized by their use of imaginative and fictive narratives. These stories are often created from the author’s imagination, allowing for a wide range of possibilities and creative expression.
It uses characters who are doers of actions or who the story evolves around them. The characters in a novel are central to the storyline, serving as the main actors driving the plot forward. These characters are usually well-developed, with distinct personalities, backgrounds, and motivations that evolve throughout the story.
It is written at a considerably longer length than other literature. Unlike shorter forms of literature, novels are typically lengthy, allowing for complex plots and detailed exploration of themes. This extended length allows authors to build intricate worlds and multi-faceted characters.
It is written in a narrative form. Novels are primarily narrative, focusing on storytelling and the unfolding of events over time. This form allows for a structured sequence of events, providing readers with a coherent and engaging reading experience.
SHORT STORIES
Collection of brief fictional narratives.
A short story is a concise prose tale that is shorter than a short novel, typically spanning twenty to thirty pages. It has a limited number of characters and typically focuses on a single important event or topic.
B: POETRY
Poetry is a form of artistic expression that elicits emotions and stimulates the imagination by skillfully using vivid and strong language. It is typically structured with a pattern of words or lines that feature a consistent and recurring emphasis or stress.
Other descriptions of poetry
A work that exhibits distinctive utilization of language and rhythm, incorporating elements such as rhymes, imagery, metaphor, symbol, onomatopoeia, meter, and varied repetitions.
Writing is the act of expressing a focused and vivid understanding of experiences, which are carefully selected and organized in a specific structure to evoke a particular emotional reaction through their meaning, sound, and rhythm.
It is a literary genre that utilizes language in a distinctive manner by including numerous figurative expressions.
This genre is characterized by its adherence to a specific structure and meter, and it makes extensive use of figurative language while being notably concise compared to other genres.
It serves as a means of conveying emotions, ideas, and personal experiences through language rich in imagery and rhythmic sounds.
CHARACTERISTICS/FEATURES OF POETRY
It uses repetitive sounds, especially similar sounds like anadiplosis and parallelism.
It arouses emotions
It is reflective/reflects experiences
It is rich in figures of speech or figurative Language
It uses concentrated/condensed Language, or it is very economical in the amount of words
HOW POETRY DIFFERS FROM OTHER GENRES
Poetry is composed of lines that are grouped into stanzas, creating a distinct structure. In contrast, novels and other prose genres are written in paragraphs, presenting a continuous block of text.
Poetry employs a more concentrated and succinct use of language, often packing significant meaning into fewer words. This economy of expression contrasts with the more expansive and descriptive language used in novels and plays.
In poetry, the speaker is referred to as the persona, a voice that may not be directly identifiable. Prose works, such as novels, feature characters with specific names and identities that interact within the narrative.
Poetry is inherently rhythmical, with lines often following patterns of stressed and unstressed syllables. This rhythmic quality, marked by regular beats and pauses, distinguishes it from prose’s more straightforward narrative flow.
Poetry is typically richer in the use of figurative language, employing metaphors, similes, and symbolism to convey deeper meanings. This dense use of literary devices is more pronounced than in novels and plays, which may use them more sparingly.
Poetry often uses language that evokes strong emotions, engaging the reader’s senses more intensely than other genres. This elevated and sensory language aims to create a more immediate and profound emotional response.
Poetic forms frequently incorporate repetitive sounds, such as rhyme and refrain, adding a musical quality to the verses. This use of sound patterns is a defining feature that sets poetry apart from prose narratives.
Poems are uniquely suited to be sung or recited aloud, emphasizing their auditory appeal. While novels and plays are primarily read or performed as dialogues, poetry’s composition lends itself to oral presentation.
Poetry often invites deeper reflection, encouraging readers to ponder the underlying themes and emotions. This introspective quality is more pronounced in poetry than in the more plot-driven narratives of novels and plays.
Poets frequently employ poetic license, allowing them to bend conventional rules of grammar and syntax for artistic effect. This flexibility contrasts with the stricter adherence to language rules typically found in prose genres.
TERMS USED IN POETRY/POETIC TERMS
Poet(ess): A poet or poetess is someone who crafts poems, weaving words into structured or free-form verses to express emotions, tell stories, or convey deep meanings. Their work often reflects personal insights, societal observations, or imaginative worlds.
Persona: The persona is the voice or speaker within a poem, presenting the thoughts, feelings, or narrative to the reader. This voice is not necessarily the poet’s own but rather a crafted perspective that guides the poem’s message.
Poetic License: Poetic license allows poets to intentionally deviate from standard grammatical rules or conventions to achieve a particular effect. This creative freedom enables them to enhance the poem’s rhythm, rhyme, or meaning.
Verse: A verse is a single line of poetry, serving as the building block of a poem’s structure. Each verse contributes to the overall rhythm, tone, and meaning of the poem.
Stanza: A stanza is a grouping of verses that together form a cohesive unit within a poem, often separated by a blank line. Stanzas function similarly to paragraphs in prose, organizing ideas and contributing to the poem’s structure.
Rhyme: Rhyme involves the repetition of similar sounds, typically at the end of verses, creating a musical quality in the poem. This technique can enhance the poem’s aesthetic appeal and memorability.
Rhythm: Rhythm in poetry is the pattern of stressed and unstressed syllables, creating a musical beat and flow. This patterned cadence can evoke different emotions and enhance the reading experience.
Refrain: A refrain is the repeated line or group of lines that recur at the end of stanzas, adding emphasis and cohesion to the poem. This repetition can reinforce the central theme or create a rhythmic anchor.
Alliteration: Alliteration is the repetition of consonant sounds at the beginning of words within the same verse. This stylistic device can add a musical quality and enhance the poem’s imagery.
Consonance: Consonance is the repetition of similar consonant sounds, often at the end of verses or within words, contributing to the poem’s rhythm and musicality. It can create a sense of harmony or tension depending on the context.
Assonance: Assonance is the repetition of similar vowel sounds within a verse, adding to the poem’s auditory appeal. This technique can create internal rhyming and enhance the mood and flow of the poem.
Reiteration: Reiteration is the repetition of the same word or phrase within a poem to emphasize a particular idea or theme. This technique can create a sense of urgency, rhythm, or focus.
Parallelism: Parallelism involves repeating similar or identical language, structures, events, or ideas in different parts of a text, creating a sense of symmetry and balance. This technique can reinforce themes and enhance the poem’s overall coherence.
Tone: The tone of a poem refers to the quality of sound or attitude expressed by the persona, shaping how the poem is perceived. It can range from joyful and celebratory to sombre and reflective.
Mood: Mood is the emotional atmosphere created by the poem, influencing the reader’s emotional response. It can evoke feelings such as sympathy, anger, regret, or sadness and is shaped by the poem’s language, setting, and imagery.
Attitude: Attitude reflects the poet’s or persona’s perspective or stance toward the subject of the poem. It is conveyed through the choice of words, tone, and overall approach to the theme.
FORMS OF POETRY
There are two types of poetry as the broader category according to perspectives/views; these are;
Traditional poetry
Modern poetry
TRADITIONAL POETRY
These are poems that adhere to specific laws or concepts, such as having an equal number of verses in each stanza and following a consistent rhyming pattern. Poetry written in a closed form is characterized by the presence of stringent rules or principles that regulate its structure and composition.
MODERN POETRY
Free verse is a type of poetry that disregards established norms and concepts, allowing for an open and unrestricted form of writing. Nevertheless, poetry can be classified into various categories based on its form (structure) and substance. In this category, we have three primary classifications of poetry, which are:
Narrative poetry
Lyric or lyrical poetry
Dramatic poetry
I. NARRATIVE POEMS
These are kinds of poems that tell a story that is presented in the form of narrating a story. We have many poems (classifications) that belong to this category, such as descriptive, didactic, epic, ballad, etc.
DESCRIPTIVE POEMS:
These are specific categories of narrative poetry and are presented by describing/giving features/characteristics of something/things.
DIDACTIC POEMS:
Are those poems that give instructions and are composed for educative purposes/issues? For example, “Front Line” by George Shea
EPIC POEMS:
These are gland heroic poems that try to narrate about phenomena or events of heroes/heroic figures in a given society. Or it is a form of poem that recounts/tells accomplishment of a heroic figure. It includes expansive setting, superhuman feats, gods and supernatural being.
BALLAD:
It is a poem where it involves more than oneself/personal in conversation or speaking in turn.
These are some of narrative poetry, as there are others that are reflective, expressive, etc.
II. LYRICAL POEMS:
These are poems that express the strong feelings/emotions of the speaker or persona. There are three classifications of lyrical poems, which are ode, elegy and sonnet.
ODE: A poem that expresses serious issues/addresses a person or celebration of events.
ELEGY: This is a poem that expresses sorrowful or sad strong feelings, especially on the death of a close person. Or is a type of poem in which a poet mourns the death of a specific person. For example, “The Funeral of Martin Luther King Jr.” by Nikki Glovanni.
SONNET: A poem that expresses feelings using fourteen verses/ is a fourteen-line poem normally with distinctive rhyme skills and a metrical pattern. “If We Must Die,” “Merry-go-round,” and “The Strange Wind” are good examples of sonnet poems.
III. DRAMATIC POETRY:
It is a kind of poetry that involves a dramatic narrative form and uses more than oneself/persona. There are two specifications of dramatic poetry;
MONOLOGUE: Refer to poems that are under this category that involve one speaker who is in charge of more than him/herself. E.g. “Song of Lawino”
DIALOGUE: Refer to poems which are involving more than one speaker or persona.
DRAMA/PLAY: A performance including actors, whether in a theater, on television, or on the radio, is commonly known as a scripted production. To effectively entertain and educate others, the portrayal of human nature should properly and convincingly capture the range of emotions, qualities, and changes in circumstances that individuals go through.
Dramatic representation entails the meticulous reproduction of complete actions intended to grab human attention. This is achieved through a sequence of interconnected events that are enacted and communicated through speech and symbolic portrayals of real-life situations and circumstances. A performance that exclusively utilizes gestures rather than verbal communication is known as a pantomime.
ELEMENTS OF DRAMA/PLAY
Setting: Setting pertains to the specific geographical region where the literary work unfolds, whereas time denotes the chronological period during which the story is situated. Usually, the environment is either based on reality or created in the imagination. The context can be either clearly defined (such as New York City in 1930) or subject to varying interpretations (such as a large urban area during a time of economic difficulty). It also directly relates to a portrayal of such.
Characterization/dramatic personage: it is the process of carefully choosing and shaping characters, actors, and actresses in order to communicate the intended message effectively. In an alternative approach, the author uses this strategy to convey to the reader diverse facets of a character’s personality, life background, principles, physical attributes, and more. Furthermore, it directly relates to a specific portrayal of that.
Plot: it is the intentional organization and sequence of events or occurrences in a story or play. A superstructure pertains to the whole framework of a literary composition, specifically a novel or a drama/play. The plot of a story refers to the deliberate arrangement and sequence of events carefully crafted by the author to achieve a particular aesthetic or artistic effect. The arrangement might be either chronological or achronological, depending on the author’s preference.
Audience: these people receive the desired message through listening, reading, observing, or watching a drama/play.
Diction: this is the choice and use of words in a literary work.
Style/technique refers to the way a literary work is structured/presented by the author/playwright.
Theme: it refers to the central concept or underlying message that is communicated through a written work. A theme is typically presented as a comprehensive sentence, while a notion conveyed as a single word or fragmentary phrase is referred to as a motif.
Motif: An idea or image that appears again and holds significant importance. A motif is distinct from a theme in that it can be conveyed as a single word or incomplete phrase, whereas a topic typically needs to be presented as a complete sentence.
DIFFERENCES BETWEEN DRAMA AND PLAY
Key Aspects
Drama
Play
Setting
Uses a physical setting
Shaped by words
Actions
Uses actual actions as acted
Uses words to shape actions
Audience
Has more audience as it involves both illiterate and literate people
Typically has fewer audiences, mostly literate individuals
Origin
Started before play
Developed later as a literary form
Story Comprehension
Easier to grasp the story
The story might be less immediately clear without the visual and auditory elements of drama.
Language
Presented in spoken language
Always in written language
Characters
Uses real characters (actors)
Uses imaginary characters shaped by words
DIFFERENCES BETWEEN DRAMA AND PLAY
TYPES OF PLAY/DRAMA
There are about four types of drama/play, but the two types are the major ones of the four.
TRAGEDY:
Tragedy is a kind of drama characterized by the gravity of deeds and circumstances, which ultimately result in the hero’s life being at risk, leading to their death or solitude. For example, the plays “An Enemy of the People” and “Death of a Salesman.”
COMEDY:
It is a form of drama that employs comedic actions to elicit laughter from the audience. Typically, it is distinguished by cases of mistaken identity and concludes with a positive outcome.
Tragicomedy:
The story blends elements of both seriousness and humor, yet the protagonist always manages to survive perilous circumstances.
MELO DRAMA:
This entails the incorporation of highly exaggerated actions and musical noises as key components of the performance intended to provide entertainment.
ELEMENTS OF LITERATURE
1. FORM
2. CONTENTS
FORM;
It consists of the following:
a. Setting
b. Style
c. Plot
d. Diction
e. Linguistic techniques
f. Characterization
STYLE
Style, in its conventional interpretation, refers to a systematic approach or technique employed in the execution of a task, particularly within the realms of art or science. In the context of a literary piece, technique or style pertains to the manner in which the work has been organized and presented. Various styles are employed in the presentation of literary works, a few of which are outlined below:
Flashback/analepsis: a scene inserted into the narrative that shifts the plot back in time from its current place. Furthermore, flashbacks can be characterised as a non-linear regression to a previous point in time, when an event that occurred earlier in the chronology is recounted later in the text. Generally, a flashback is referred to as the insertion of an earlier event into the chronological structure of a novel, motion picture, play and film.
Oral traditional style/straightforward: this is characterised by a basic narrative structure, where a story is presented in a linear fashion, starting from the beginning, progressing through the middle, and concluding at the end. It is a frequently employed and antiquated literary technique, distinct from others.
Overshadowing/prolepsis is a literary method that entails providing a glimpse into the composition of a piece of art and subsequently offering more elaborate information as the work unfolds.
PLOT
This pertains to the arrangement (organization) of events within a narrative or play. It is evident in conflicts that are either physical, moral, or personal. a plot is the actions; a story is the occurrences. The plot is a sequence of events and interplays within a narrative that is meticulously arranged to achieve the author’s intended aesthetic or artistic effect. It is constructed using the following:
Exposition: The exposition is the part of the story where the setting and characters are introduced. It provides the background information needed to understand the plot.
Imposing Problem/Conflict: This is the moment when the writer begins to introduce a problem or conflict between characters or ideas. It sets the stage for the unfolding drama and challenges the characters will face.
Rising Action: The rising action includes events and actions that build up from the initial conflict, leading to more complications. This part of the story develops the plot and heightens tension.
Climax: The climax is the most exciting part of the story, where the main conflict reaches its highest point. It is the turning point where the outcome becomes clear, often involving a dramatic event.
Falling Action: During the falling action, the story begins to wind down, and the tension decreases. The consequences of the climax unfold, leading towards the resolution.
Resolution/Denouement: The resolution is where the problems in the story are resolved, and the story concludes. It ties up loose ends and provides closure to the narrative.
CHARACTERIZATION
This is the artistic technique used by writers to create and develop characters in a story. Through careful description, dialogue, and action, the author makes these imaginary persons feel real and believable to the reader. Effective characterization helps readers connect with the characters, understanding their motivations, emotions, and personalities as if they were real people.
How do we determine characters?
Behaviour, trait or features
His/her words, what he/she speaks/says
His/her actions/deeds, what he/she does
His/her name
What is said by other characters to another
His/her own monologue
What he/she thinks in an armchair
Physical movement
Psychological setup/background, which is the mental pictures of that character
Moral aspects
TYPES OF CHARACTERS
Protagonist characters: These characters serve as representatives of the majority and advocate for the interests of society.
Antagonist characters: These characters are known for their antagonistic nature, since they prioritise their own self-interests and often oppose the protagonist characters.
Main characters: These characters are present throughout the work, regardless of whether they are protagonists or antagonists. They serve to communicate the intended message to society by their competing viewpoints.
Minor characters: helping characters who help the main characters carry a message.
Round characters are dynamic characters that undergo a transformation in their personality throughout the work of art. They undergo a process of progression from one stage to another. Alternatively, they are referred to as characters in the process of development.
Flat characters are static in nature and do not undergo any changes during the entire work of art. Nevertheless, they may occasionally be referred to as static characters.
Stock characters are borrowed characters from another field, such as from oral tradition.
THE ROLE OF LITERATURE IN THE SOCIETY
Literature has the following roles in the society:
To educate individuals by instilling in them a sense of consciousness and self-motivation. It enhances individuals’ cognitive abilities by providing them with an understanding of current social conditions, thereby stimulating their capacity for logical thinking.
To provide entertainment through the use of aesthetic delight that elicits a sense of enjoyment. Literary works such as books, plays, and films/movies are consumed by reading, listening, and viewing.
In order to develop language, individuals must engage in activities that utilise language as the primary mode of communication. This includes developing skills in reading, writing, listening, and speaking. It enhances one’s lexicon and linguistic structure.
The purpose is to emancipate individuals physically and intellectually by guiding them to confront their difficulties, enabling them to free themselves through active struggles while raising awareness and providing knowledge about social reality.
It is important to critique society or individuals by highlighting their weaknesses, follies, vices, and evils and offering constructive suggestions for how society should move away from its current state.
To articulate the cultural elements of society, encompassing values, conventions, customs, beliefs, language, etc., with the intention of highlighting and fostering the positive and beneficial features of that culture. Additionally, it motivates individuals to relinquish unfavorable practices, customs, and beliefs.
To exert influence over individuals in order to facilitate reforms. Individuals can be swayed to take action or engage in certain behaviours as a result of consuming written or visual artistic creations. It inspires innovative concepts.
Myths and Misconceptions about Literature
Common Myths Several myths surround literature, such as the idea that it is only for the elite or that it is outdated in the digital age. These misconceptions can discourage people from exploring literary works and appreciating their value.
Debunking Misconceptions Literature is for everyone, offering diverse genres and styles to suit all tastes and backgrounds. It remains relevant in the digital age, evolving with new technologies and continuing to inspire and educate readers worldwide.
FAQs
What is literature?
Literature is a body of written works that express ideas, emotions, stories, and concepts through various forms, such as poetry, prose, and drama.
What are the main types of literature?
The main types of literature include poetry, prose, drama, fiction, and non-fiction, each offering unique ways to convey stories and ideas.
Who are some influential literary figures?
Influential literary figures include Homer, William Shakespeare, Jane Austen, Charles Dickens, Virginia Woolf, and James Joyce, each contributing significantly to the literary canon.
How does literature impact society?
Literature influences society by reflecting cultural, political, and social dynamics, challenging existing power structures, and fostering empathy and understanding among diverse groups.
What are the benefits of reading literature?
Reading literature offers cognitive stimulation, stress reduction, improved empathy, enhanced vocabulary, and critical thinking skills, contributing to personal and intellectual growth.
What are some famous literary awards?
Famous literary awards include the Nobel Prize in Literature, Pulitzer Prize, and Man Booker Prize, recognizing outstanding contributions to literature.
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Literature has consistently mirrored society, with the latter serving as the fundamental source of topics and storylines that constitute a work of art. This essay examines the roles of literature in society and demonstrates the mutually beneficial relationship between the two. Each piece of artwork assumes a duty to uphold the continuation of society; thus, it is justifiable to assert that such work embodies an ideology. The expression of art is influenced by the aesthetic principles established by the culture of a particular society.
Literature and Society – Two Sides of a Coin
Literature and society are two sides of a coin. The survival of literature depends on the society and vice versa. Literature relies on society for the raw materials to develop itself into a readable subject, while society relies on literature for its survival, politically, morally, aesthetically, and socially. This is important because a society can get a feel of its existence in how it is mirrored in the literature that emanates from such a society. Consequently, there is a kind of interconnectedness between literature and society.
Literature, on the one hand, could mean pieces of writing or printed information on a particular subject, such as we have in our newspapers or magazines on politics, economy, science and technology, commerce, religion or literature as we have it in the school curriculum. On the other hand, literature could be defined, according to Cuddon (1999) as a vogue term that usually denotes works that belong to the major genres: epic, drama, lyric, novel, short story, and ode (472).
From this perspective, we know that literature, especially creative literature, is any piece of writing qualified to be regarded as a work of art that exists in the genre and subgenre expressed above. However, literature in the latter perspective engages our focus in this discussion. Literature, in this sense, is an imaginary artistic creation of a particular author, playwright, or poet. It is an essential part of our everyday life designed to mirror life. Literature, as a discipline, is divided into three distinct genres: prose, poetry, and drama.
Being an imaginative composition, literature is unlike other disciplines, most especially the sciences, where the subject matter and result of a particular topic and equation remain constant, with or without reference to the time and place of discussion and persons involved in the exercise. Literature can be discussed and analyzed by two or more people, and the end result could be totally different. This is because experience matters a lot in literature. The richness of a person’s experience influences his capability in writing and speaking. For example, Wole Soyinka’s treatment of “Abiku” differs from that of J.P. Clark, even though the two literary giants wrote on the same subject matter but from different perspectives. Essentially, literature mirrors our society; it serves as a reminder of events and issues. This is particularly useful for record purposes and for the benefit of future generations. (Adeseke 2007:7)
Functions of Literature
Apart from providing entertainment for the readers, literature also educates its readers by engaging them in moral discussions that will benefit them and culminate in a better society. Osofisan (2000: vi.) believes that literature has a richer purpose other than entertainment in society. Literature helps its reader or consumers to be more felicitous and more fulfilled in life.
The ills of society are exposed through literature, and if readers had been able to inculcate a reasonable level of morals, society would have been a better place. The essence of any work of art is to affect the society from which it emanates positively. Lukinn (1980:109) compares art to science and philosophy, showing how art (literature) can exert powerfully on our thoughts and conscience. Lukinn posits thus:
Together with science, art is a means of knowing the multiplicity of reality; together with philosophy, it expresses the world – the outlook of the author, concentrating on the problem of man; together with ethics, art solves moral problems. In other words, art is capable of penetrating all spheres of humanthought, thus exerting an enormous ideological influence on the life of society. (Emphasis mine)
In Diyanni’s words, “the literary works we read carefully will become a meaningful part of our lives, absorbed into our storehouse of knowledge and experience to become part of who we are, how we know and what we feel” (2004:10). Literature, therefore, can improve our cosmos. Therefore, it is pertinent to our existence. It is essentially relevant to our society “because it takes its root from society and deals with thoughts and situations taken from society” (Awodiya 1993: 21).
Literature also preserves and propagates our culture. It preserves the mores, myths, proverbs, idioms, dressing and other essentials that make up a society for the benefit of future generation. This, in most cases, is important for the survival of such society. For students, reading and writing on literature improves their thinking and writing ability.
Students can also develop creative ability in any of the three genres of literature, thereby trying their hands on any of them to the extent of publishing such works before graduating and such dexterity will enhance their performance in other subjects, especially in the humanities.
Literature is equally used to project the image of any society. It presents, undilutedly, the realities of society. No wonder then that those countries that care so much about their image, usually censor the works that are exported to other countries. Literature has always been in the forefront of re-branding societies.
Literature, Ideology, and Aesthetics
Ideology and Aesthetics are very germane to literature as they form a part of it. This tallies with Volkova’s view that:
Artistic content includes the ideological, emotional, figurative, aesthetic, concrete, and sensor spheres of meaning specific to art, arranged systematically and integrally. This is the unity of the basic mental figurative components and of the links between them. The principle of the systemic nature of content helps us expose its determining role in relation to artistic form in all art forms and stylistic movements. (1976:283)
Literature is essentially conditioned by ideology. This is evident in how African Literature was conceived at inception. African literature sprouted within a hostile ideological climate. This is reflected in the tone and theme of the literature of that period as it harps so much on the issue of independence. Shortly after independence, it was geared towards saving Africans from the clutches of imperialism. Later, when African leaders became more vociferous than the ousted colonialists, literature was directed towards propagating the dangers inherent in such dastardly acts to Africans and the society at large.
Now that the gulf between the haves and haves-not is widening by the day, literature, through ideological leanings, has also portrayed such happenings and sometimes shows its consequences to the survival of our society. From time immemorial, therefore, literature has always taken on the coloration of its milieu, just like a chameleon.
The issue of ideology has divided African writers into two major schools these are the critical realist and social realist schools. Attention will be given to the latter in our discourse.
Aesthetics, on its part, has been narrowly conceived as an arm of philosophy that deals with beauty and what is beautiful in both art and nature. In our instance, Osborne’s definition will be very appropriate. Osborne defines aesthetics thus:
…aesthetic discussion throughout the present century has in practice been concerned mainly with problems thrown up by the evaluation of work of art, although theoretically, such limitation is not admitted. Perhaps the most generally held view would be that the central core of aesthetics is provided by questions about the nature of aesthetic experience and the grounds of aesthetic judgment. (1972:5)
The above underscores the responsibility of aesthetics toward literature. It, among other things, provides a theoretical base for the evaluation of works of art using empirical objects and styles from historical perspectives. This theoretical thrust gives functional and naturalistic bases as described succinctly by Thomas Mauro, as quoted in The New Encyclopedia Britannica thus:
Art is a skill in making or doing that, which is socially used or intended as a stimulus and guide to satisfactory aesthetic experience… especially in such a way that the perceived stimuli, the meanings they suggest, or both, are felt as beautiful, emotionally moving, or otherwise valuable as objects of direct experience.
Another type of aesthetics is the Marxist aesthetics. This type of aesthetics is committed and partisan. Such aesthetics, according to Uji (1989:37),
emphasizes the contradictory and antagonistic nature of class society and stresses that works of art, as a matter of necessity, must address themselves toward the emancipation of the exploited masses of the people in society and are aimed at creating a socialist and, ultimately, a communist society.
This type of temper is geared towards championing the course of the poor masses, prosecuting this through the revolution of the mind and sometimes through actual revolution. It is an ideology that blazes its temper against all forms of exploitation and dehumanization. This major intent is to revolutionize the whole world and make it a classless society. Ngugi was an African proponent of the Marxist Ideology, “which accepts revolutionary violence as entirely justified, and proposes socialism and a classless society as a means of resolving Africa’s problem” (Okolo 2007:2). This approach is crystallized by James (1973:85) in the following words:
…a worldwide artistic phenomenon that arose under the influence of the great social changes at the end of the nineteenth century and the beginning of the twentieth – the sharpening contradictions within capitalist society, the crisis in bourgeois culture and the rise of a socially conscious proletariat. It is, therefore, the reflection in the arts of the struggle for the victory of socialism.
This approach, no doubt, recognizes the contradictions inherent in a capitalist society, the unfair treatment of the proletariat, and the leviathan posture of the bourgeois. It, therefore, champions the cause for the destruction of the bourgeois structures and superstructure to pave the way for the enthronement of a Socialist-Communist paradigm.
Another important point about aesthetics is that it is produced by culture. It, therefore, means that each culture will produce its own aesthetics, and given this symbiosis, aesthetics, and culture are two sides of a coin and are both dynamic in nature. Since every work of art derives its content or theme from the culture and happenings of a particular society for the enjoyment and benefit of such society, it is right to say that such work is a reflection of the aesthetic canons of that culture. It is, therefore, apt to opine that ideology and aesthetics are two components that can help literature to thrive, especially since they give it a kind of variant that makes it distinct, clear-cut, and easily recognized as a work of art.
The Place of Critical Realism and Socialist Realism in Literature
The commonest approach to the African experience in literature today is the critical realist approach. Writers in this group “advocate a literature that is engaged with the contemporary reality in a critical way” (Onoge 1978:400). In fact, these writers saddle themselves with the sole responsibility of criticizing the ills of their societies without proffering any way out of such quagmire. One thing that unites them is that they eschew ideology. They advocate that literature should be devoid of ideology. A prominent apostle of this school is Wole Soyinka, who has always rejected categorization from any ideological standpoint. He posits this about the issue of ideology:
Asked recently whether or not I accept the necessity for a literary ideology, I found myself predictably examining the problem from the inside, that is, from within the consciousness of the artist in the process of creating… my response was a social vision, yes, but not a literary ideology. (Soyinka, 1976:61).
The point here is that having no ideology in itself is an ideology. Every writer has social vision as acknowledged by Soyinka and this in itself is a literary ideology. One reason why Soyinka loathes ideology is due to what he called the prescriptive and restrictive nature of ideology.
In contrast to Soyinka’s view, Motivo observes that ideology is not restrictive but very relevant and essential to the discourse of literature. He explains that:
… literary ideology implies ideology belonging to literature, that is, ideology as an integral feature of literature. In this case, a precedent was established to assign to other ideologies as determined by the academic branch in question. The correct formulation is “ideology in literature”, meaning we can talk of ideology to its purveyors while making it impossible for them to escape class belonging, for ideology is a property of an economic class expressed in different areas of mental pursuit by members of that class. (quoted from Gbeilekaa 1997:61)
One important fact here is that the issue of commitment for a writer is not negotiable because the circumstance and milieu of the writer changes over the time, and he needs to reflect such social, cultural, or political changes in his work appropriately. It could be consequential for the writer to claim to be neutral in the face of serious societal issues begging of attention.
Socialist Realism
Socialist realism, a coinage of Maxim Gorky’s image, incorporates and surpasses critical realism. According to Fischer (1963:108), “socialist realism implies the artist or writer’s fundamental agreement with the aims of the working class and the emerging socialist world.” What stands socialist realism out is that it sees the world as changeable. This is further highlighted by Fischer thus:
Socialist realism – or rather, socialist art – anticipates the future. Not only what has preceded a particular historical moment, but also what will succeed it is woven into its fabric. (1963:111)
Socialist realism brightens our vision by bringing to the fore today’s problems to actualize a better tomorrow. This is further buttressed by Fischer in the following words:
Socialist art cannot content itself with blurred visions. Its task is, rather, to depict the birth of ‘tomorrow’ out of today, with all attendant problems. (1993:112)
Socialists are not only satisfied by pointing to the problems militating against Africa’s survival. Apart from identifying the problems, they have equally identified the cause – capitalism with all its tentacles or vestiges of corruption, racism, political upheavals, and importantly, the adverse effect on the proletariat.
Critics and writers such as Sembene Ousmane, Biodun Jeyifo, Omafume Onoge, Ngugi wa Thiong’o, Femi Osofisan, Mongo Beti, Bode Sowande, Kole Omotoso and many others have lent their voices to this struggle through disrobing the European modes of bourgeois writing and criticism and amassing their literary weapon under African Marxist sociological aesthetics. It is through this that they have shown themselves as committed to raising the consciousness of the people against all forms of oppression and slavery. They identified the fact that capitalism is the bedrock for exploitation in its crudest and most dehumanizing form.
Soyinka’s view of this group in an interview with Jeyifo provides more light on its level of commitment, the expected outcome of its struggle, and how successful such struggle can be. This is worth quoting in full:
I happen to believe and accept implicitly what goes under the broad umbrella of socialist ideology, a secular socialist ideology, believing this to be the logical principle of communal organization and true human equality. What true human equality. What this means for me is varied. They include the eradication of the very policy of wealth accumulation at the expense of any sector of society: the eradication of the mere possibility of organization by one class of society over another; the eradication of class distinction within a society where class implies a category of privilege or superiority or advantage. The other logical processes can be assumed: state ownership of all land and production means equal education and opportunities… (1973:62)
Without mincing words, the above encapsulates all that socialist realism stands for. It stands for justice, truth, and a classless and egalitarian society. All these subsume in the Marxist literary aesthetics.
Conclusion
In conclusion, literature and society are two sides of a coin; their relationship is a symbiotic one. They both depend on each other for survival, most especially in developing countries. Literature in such countries can serve as a tool for re-branding and showcasing their well-endowed culture and artifacts. Every society that appreciates this tries as much as possible to promote its literature and art because it is a way of assessing itself. The government should sponsor art and sometimes use it to propagate its policies and ideologies that are in the best interest of the downtrodden.
Students are encouraged to become avid readers of the three genres of literature to improve their thoughts and expressions and inculcate sound morals in their hearts. They are encouraged to try their hands on any of the genres of literature as this will make them better writers in future.
REFERENCES & BIBLIOGRAPHY
Adeseke, E. A. (2007) “Problem-Solving Strategy and the Teaching of Literature in Nigerian Schools,” An unpublished PGDE Dissertation submitted to the Faculty of Education, University of Ado-Ekiti.
Awodiya, M.P. (1993) Excursions in Drama and Literature: Interview with Femi Osofisan, Ibadan: Kraft Book Ltd.
Cuddon, J.A (1999) The Penguin Dictionary of Literary Terms and Literary Theory, London: Penguin
Diyanni, R. (2004) Literature: Approaches to Fiction, Poetry and Drama, New York: McGraw Hill Inc.
Fischer, E. (1963) The Necessity of Art, (trans. By Anna Bostock) London: Pelican Books.
Gbilekaa, S. (1997) Radical Theatre in Nigeria, Ibadan: Caltop Publications Limited.
Hornby, A. S. (2001) Oxford Advanced Learner’s Dictionary, England: Oxford University Press.
James, V. C. (1973) Soviet Socialist Realism: Origins and Theory, London: The Macmillan Press Ltd.
Lukinn, Y.A. (1980) Ideology and Art in Marxist-Leninist Aesthetics and the Arts, (trans.) Moscow: Progress Publishers.
Okolo, M.S.C. (2007) African Literature as African Philosophy, London: Zed Books.
Osborne, H. (1972) Aesthetics, UK: Oxford University Press.
Osofisan, F. (2001) The Nostalgic Drum: Essays on Literature, Drama and Culture. Eritrea: African World Press, Inc.
Uji, C. (1989) “Marxist Aesthetics in the Works of Femi Osofisan and Bode Sowande,” An Unpublished Ph. D. Thesis submitted to the Department of Theatre Arts, University of Ibadan.
Volkova, E. (1976) “The Dialectics of Contents and Form,” Angus Roxburgh, (trans.), Marxist-Leninist Aesthetics and the Arts, London: Methuen & Co. Ltd.
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