1: Genre Introduction
- Page ID
- 59523
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- 1.1: Poetry Literary Terms- A Guide
- This page explores the rhythmic structure of verse in English poetry, highlighting metre types, poetic devices, and techniques such as rhyme types and figurative language. It discusses the importance of understanding these elements for literary intent and effect. Additionally, the page provides references for further reading, including notable works on English verse and poetic forms, and mentions contributions shared under a Creative Commons license.
- 1.2: Free Verse
- This page discusses free verse as a poetic form characterized by the absence of regular meter and rhyme, offering poets creative freedom in structure and technique. It highlights Walt Whitman's association with its introduction to English poetry and notes its rise in popularity among modernist poets in the twentieth century, who valued its flexibility for contemporary themes.
- 1.3: Billy Collins- A Poet Speaks Out
- This page encourages readers to explore Billy Collins' work by watching his audio/visual poem on YouTube and listening to a lecture on his poetic craft. It includes links to both resources and is attributed to the Extended Learning Institute of Northern Virginia Community College, along with relevant license information.
- 1.4: Approaching Poetry (Includes Free Verse)
- This page explores analytical skills for understanding poetry, focusing on elements like rhythm, alliteration, and poetic structure. It highlights techniques, emotional effects, and historical context using examples from various poets. The text encourages engagement with poetry, examining sound and meaning, and juxtaposing traditional and free verse forms. Exercises prompt reimagining prose as poetry, enhancing understanding of structure.
- 1.5: Approaching Poetry
- This page enhances poetry analysis by exploring rhythm, rhyme, voice, and poetic techniques. It emphasizes the importance of active engagement, including annotation and questioning of a poem's elements. Examples from Blake, Hardy, Pope, Keats, and others illustrate how diction, form, and rhythm convey deeper meanings and emotions. The text discusses different poetic forms, including elegiac conventions, and highlights the effects of structure and imagery.
- 1.6: Defining Literature
- This page discusses literature as any written work originating from ancient civilizations, categorized into fiction, non-fiction, poetry, and prose. Major forms include novels, short stories, and drama, with evolving definitions influenced by the Romantic period's focus on imagination. Contemporary debates encompass both popular and minority genres. Poetry features aesthetic language and rhythm, while prose uses ordinary syntax, and drama is intended for performance.
- 1.8: Introduction to Fiction
- This page contains a link to a video presentation aimed at college students, introducing them to fiction, featuring contributions from Heather Gemmen Wilson and Ivy Tech Community College, and is available under a Creative Commons license. The YouTube video itself is not embedded but can be accessed online.
- 1.9: The Difference Between Fiction and Nonfiction
- This page distinguishes between fiction and nonfiction in literature, noting that fiction derives from imagination and includes genres often taught in classes, while nonfiction, though fact-based, can be creatively structured as "literary nonfiction." The classification between the two hinges on a work's claim to truth rather than its factual accuracy, highlighting that both can share similar literary qualities.
- 1.10: Introduction to Creative Nonfiction
- This page introduces creative nonfiction to college students, including a video link for further exploration and credits for the original content and contributors. The material is licensed under Creative Commons.
- 1.11: Introduction to Plays and Film
- This page presents a PowerPoint for college students about the fundamentals of plays and film, with a note that a YouTube element is not included but available online. It also references the contributors and their Creative Commons Attribution licenses for the content.
- 1.12: Reading a Play
- This page from Purdue University’s Writing Lab, authored by Sandra Kelly, highlights the significance of plays as literary works. It emphasizes the understanding of plays' structure, themes, and performance aspects, providing insights and guidelines for effective reading and analysis. The content is licensed under CC BY: Attribution.
- 1.13: Reading Poetry
- This page encourages readers to explore Poets.org for insights on reading poetry, specifically referencing an article on how to interpret poems. It acknowledges contributors to the literary content and includes details on the licenses of the materials, emphasizing their public domain status.
- 1.14: Poetry Lesson Presentation
- This page contains a link to a PowerPoint presentation on poetry lessons for college students, created by Tom Chester. It mentions an excluded YouTube component available online. The content is licensed under Creative Commons for sharing with proper attribution.