essay on the definition of literature

What Is Literature? Definition and Meaning Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Introduction

According to Baym 2007 in the book, “ The Norton anthology American literature: Beginnings to 1865” , literature is defined as written, spoken, or observable material that holds some meaning that can be interpolated or offer information, explanation about anything from creative writing to more technical or scientific work. Life on its very nature can be defined as part of literature; elements of literature that are observable in human social life include culture, language, symbols, signals, poetry, songs, and dances.

In academic circles, literature author’s messages are decoded by readers to get meaning and an in-depth understanding of what the writer wanted to convey using literary theory, using a mythological, sociological, psychological, or historical methodologies.

Literature has relevance in human life as it communicate to individuals, societies, its universal and has an impact on human life (Baym, 2007). This paper takes a look at the meaning of literature; it will focus on the issues brought about in the book “ “ The Norton anthology American literature: Beginnings to 1865.”

Newspapers and literature

Newspapers and periodical can be classified as literature when considering that they address a certain topic in the social, economic, and political arena that talks about the human life, their community and has an impact on their life. Print news are information gotten from paper printed news that come out periodically; in the context of news, the most used print news articles are the newspapers that are produced daily reporting matter of the last 24 hours and sometimes offering some reviews to older news and information.

Other than newspapers and other dailies, there are a number of weekly and monthly articles that are being produced reflecting on certain matters that transpired in the last week or month; in most cases the articles may be looking at certain aspect in the community say politics, economies, sports or other social happenings (Baym, 2007).

The Back of a cereal box literature

With changes in culture and generations, the world is facing a new wave of generation that seems to have little relevance to written literature or they are not willing to have written literature. Generation Y is fulfilling their surveillance needs in the most efficient manner in terms of access, costs, and availability; with the above characteristics, free news media has seen a niche market where it can sell its products and services.

Free news media offer news in simplified form that is formatted to attract the attention of its target market who happens to be the youth in the current generation as they prepare to grow with the population to their old age. On the other hand, the print news media has maintained a conventional news presentation format that seems give preference to national and international news on different matter; they have the space and the time to offer in-depth analysis and sometime experts’ opinion on certain issues.

The format as adopted by print media is more informative than the one addressed by the free news media, however the current generation of youth seems not to be very concerned on quality but consider their personal interests when choosing the material they are going to use for information (Baym, 2007).

The situation on the ground portrays that print news media no longer command an increasing market; however their demand is decreasing for the good of free news media.

Why are some writings chosen to be in the book and others not

When reading the article, (The norton anthology American literature ) book, we note that human beings have diverse cultures and live in different areas in the globe; this has made them to talk, pronounce, have an accent and stress words differently. Linguistic anthropology concerns itself with the relationship between language and culture of human beings.

There are various aspects of human life that language just like any other factor that influence the life of human being touches/ can be used to explain, these areas are participation, reflexivity, voice and chronoscope, circulation, identities, gender & sexuality, ideology, text, and grammar.

Language is a part and parcel of human life that is developed with ones knowledge or not. It was instilled by our parents after we were born, human beings will copy others in the socialization process; after they have copied them they get identity with the copied tribe or community.

These aspects are deeply instilled in the human beings and he is not aware that they define each step that he makes . The kind of language that a person undertakes have a certain backing from where the person comes from, it can define the back ground of the person; the strong points of interpolation are found in the selection of words, the tone as well and the volume that a person uses to express his needs.

In communities that are racists the use of the language that is meant for the majority or the minority can place the individual on either side. One can be identified to belong to a certain race out of the use of works that he adopts and the accent that he is having on the particular language.

For example the blacks in the United States of America have some words like “nigger” that have meaning to them and identify them from the larger group. When one is dealing with such a person, you don’t have to ask the tribe or the social setting that he comes from all you need is to listen to him talk. The general argument is that by listening to the way a person talks, what works he is stressing and which letters he seems not to pronounce in his reading, one can know the cultural background of the Individual.

Stressing some works and relaxing some give different meaning to the same work; this may be giving it verb status or noun. For example by stressing the word produce- mostly said with a raising voice, it may mean the act of producing; thus a verb, when the same is said politely, it means the outcome thus a noun. As one is brought up, through early socialization, the choice of word is learnt and it is interpolated differently by different groups. Other aspects are biologically instilled in the human beings.

What are the editors looking for in writing for it to be included as “literature”?

When writing the book the writer seems to be looking for the following human characters that can be derived through literature understanding.

Human beings do not live alone but they are social beings. They are there for the each other in times of need and build these relationships by expressing their own feeling and opinions this is done by the use of understandable language. They must communicate to the recipient in the language that he is going to understand.

Communication becomes effective when the language that the two parties are using is well understood by them; this is the use of language. Language goes further than the oral talks but involve written information, body language, and electronic transfer of information. It is the language that we use that makes the world to have “sense” everything that is in the world gets a meaning when language is used to express its use.

Problems only get a solution when the solvers can use the correct language. The innovations that is a good resultant aspect of education has its root in language; these spans from the general understanding of things as they are to specific analysis of a particular case. Taking a traditional case, in each society there is culture that holds its people together, one of the major components of culture is language; this is because the language that is adopted by a particular society is unique in its own ways .

Identity can be defined as the stable and fixed aspects of selfhood: things that you check off on census forms such as; Race or ethnicity, Nationality, Social class and Gender. The way someone uses his language is of importance to show his or her identity.

In African countries for example those people who belong to high class talk a different set of English, the way that they pronounce names is different from the other members, all over those people who are living in towns are associated with quality English and other languages, this is a tool that can be used to give the class its own status and class. Those from the village and rural area talk broken English.

When language is the tool that is used to identify ethnicity, there are two sides of looking at it. One is that a person identifies himself as from a certain tribe or learns that the others are not of the same ethnicity. The choice of words that we use in the daily conversation gives the impression of what kind of a background that one has; the fact that some communities use some words to express different issues can be learnt. According to Ali G story, there are two sets of languages; they are vernacular and Standard English.

When one is using either, the weight that the information is going to be carried by is different. If we take the case of America, the black Americans and the Native Americans, if a black can talk vernacular the information that he converging is not seen as serious as the case would have been if he used Standard English. Standard English is seen to have few diversion of the original information and thus the message brought forward by it is seen as more serious.

One who talks Standard English is seen as a Native American and thus the treatments will be as so. Standard English is then a show of sincerity and used to convey serious messages. When a combination of vernacular and Standard English is used, it gives the impression of areas that need more emphasis than others and them that can be taken lightly. The identity of the message identifies the sender’s feeling and identity at large.

When the issue of ethnicity comes into picture, in most cases one does not need to say whether he is black or white since the skin color can tell. Traditionally the skin was good enough to identify the ethnicity of the person concerned. The Asians and the Chinese have unique physical appearance that one only needs to look at them and you can tell the ethnicity. However, there are some countries that the colour cannot form basis of identity.

One of this is the Hutus and Tutsi of Rwanda. During the Rwanda massacre fight, the tool that they used to identify ones tribe was only the language. This is so because they have similar physical appearances, they could talk the others language; but the way they pronounced some names made the difference and eventually lead to the identity that A belongs to this tribe and B the other.

In the situation of computer based interaction; the exchangers of information are not at close vicinity of each other but they can identify their ethnicity by the language that they use in the interaction. There is the issue of national homogenize languages that a particular country may adopt, anyone who is coming in the country either as a visitor or a passer-by may not be aware of the language, when he communicate, then one can identify that he is of a different ethnicity.

In most ethnic settings the old people are more versed with the language of the particular society, their selection of words is different from that of the youth which is influenced by education and modern time’s interactions. For example in Africa, there are diverse tribes that each has a different culture; the old population that mostly live in the rural areas and are less learnt, the youth stay in town centres that they have different tribes, their language is thus diluted by the interactions and the education that they have taken.

When an old person who is from the village or a young people from the village is talking, the kind of language that he is going to use will be highly influenced by the traditional settings; this may be in the broken English or French (the learnt foreign language) or will have a deep understanding of the local language. With this one can easily identify the age and the social setting in terms of location that this person belongs to.

Language and Participation

When people are interacting with each other, their interaction is facilitated by communication among them; for an effective communication then the need for language cannot be over emphasized.

There is need to express ones ideas in an appropriate way; in participation, may it be in games or activities, the players must understand each other, the language that they will use is of essence. Different situations call for different languages, the language that is used in a game situation is different from the one that is used in a job place.

The language that the youth use is different from the one that the old use; this happens when they are talking to themselves or talking to others of different age groups. If one cannot express his or her ideas in the right way, he may not be resourceful as the situation demands. How well a group understands each other determines how productive they will be, when they use appropriate language they do it to benefit their members and most probably to keep off the opponents.

An example of this is in football, the coach always have different language that can only be understood by the team that he is coaching and thus the opponents won’t know what instructions has been given. In military settings, there is unique language that is used to convey different aspects, the commands are given in a language that will only make sense to them but the enemy won’t understand.

As a war tactic, the use of a word to mean completely different from the ordinary meaning; this is meant to confuse the enemy. In the entertainment sector, the language that is used to portray certain issues is the one that made the situation fun, the way that the conversation is developed and presented to the audience is in a humorous way; this is another way that the selection of language and the use of the right language are seen in practice.

In children games there are repetitions of statements to make them attractive to them, the choice of the kind of word that will be used is different from the one that is going to be chosen for adolescents, the children language is that that promotes job and glorifies children playing; the one for adolescent is one that is educative. In the job place, the language that employees are supposed to use when addressing customers is different from the one that they use when addressing their fellow work mates.

The language for customers has a soothing element aimed at building a strong brand name. The respect that the employees use on their seniors can be detected in the language that they use. When an individual is confronted by two conditions that require him to make a decision, the kind of language that he is going to use will determine the weight that the answer to the solution will be.

When a parent is bringing up a child, he uses different language in terms of tones, structure and the volume that he uses to ensure that the child is shaped in the way that the parent want. In this stage the child is taught on what to say if he is a man and what to say in the case of a woman, this reinforces the differences that are perceived to be prevailing between the male and female in the society.

This means that as one undertakes the daily cores, there is a force i.e. language that can be used to define him. The parents always have a good time in reinforcing the language that they give their children to a point that even if the child decides to get another secondary language, it is affected by the original parent’s language.

Gender simply means being female or male; it is thus not used to refer to women only. In the subject of linguistic anthropology, the effect that language has played in the area of gender has been put in place. The language that the male use is different from the one that women use; the way that men stress, the tone that they use, the facial expression continues to affirm their dominance in the society.

They are likely to use harsh voice. On the other hand, it is the use of the same language that women demand for their recognition and respect from the men dominated world. For example, a man is more likely to say a “NO”, to ensure that the woman fears and respects the man; with so doing then the domination of the man in the family continues.

In such a situation if the woman is in real need of something done, then the language that she will use can make the man change the previous “NO”, she may use words like “Woooiyee my lovely husband please”. With this selection of words and the voicing that the woman is going to use, the husband can find himself compelling with the demands of the woman. When one has given his views and the way that he responds to different questions is the main subject that one’s belief is identified as feminism or anti feminism.

When a woman is issuing evidence in court; the selection of the words will make the difference; a woman combines emotional feeling to the situation and this may influence the decision of the court. A man’s evidence on the other hand is not taken with much weight since his voice is more standard and monotonous, the fact that he is a male gives him the disadvantage. The saying goes “Men are from Mars, Women are from Venus”; this means that they understand life differently. The meaning of a word makes different to the woman and man.

When a man stresses a word, he does it to produce a certain meaning; some communities also have some words that are meant for men; in some communities it is regarded as taboo to even utter some words. This continues to enforce the gender differences. In rape cases, one of the reasons that have been put forward is that women do not report them; on the defence women have argued that they feel shy of expressing themselves.

They have no words to explain what happened. On the other hand, in the small sub sexuality culture that human beings have; there is the language that is adopted and used into them, the gays, the lesbians and the heterosexuals have a different way in which they talk. There is the choice of words they use that make them stand out of the rest. If one does not understand the language, it is more likely that in the context of these people he might not understand what they are saying.

This language is seen as internationally recognized and thus the continuity of certain sexuality is thus affected. For example a heterosexual man will use a soothing language when he is talking to a woman of whom he has sexual interests in; the woman on the other hand may use body language or by some sounds to give/ communicate that she has become aroused or interested in the man. This may be different in a gay sexuality.

One communicate to others regarding his sexuality through the language that he is going to portray when among the group, the language is the voices, the choice of words, the area that he is going to stress, body language and the contribution that he is going to make in general discussion. To send a signal of what I am in the social setting will be understood by those whom we practice similar sexuality.

Whether it is in the area of gender or sexuality what language is aiming to give is the identity of a person. Those who want to be identified as women, men, homosexuals or gays are done by the language that we adopt.

In Heterosexuality the woman in most cases is regarded as the weaker sex and is not expected to express / declare her sexual interest to a man, however, there are body language and other forms of communication that she can express her interests.

Men on the other hand are seen as the one who has the sexuality advantage; the move he made and the selection of words that he uses communicate his interests. By this belief that the woman should not have the authority of expressing what she feels, then it continues to reinforce men dominance in the society.

Gender differences are seen again with this. There is a funny situation that is portrayed by heterosexual people, the power of a woman to say a direct no to sexual advances is mostly misunderstood; when a man approach a woman, and the woman is not willing to have sex, by her saying “no” is interpolated as a way of asking the man to beg and put more effort. The word “no” said by a woman is interpolated to mean somehow there is consent; on the other hand, a “yes” to sexual advances is interpreted to show a weak woman sexually.

With this belief rape cases pose a great challenge to prove that the woman really was not willing, if the woman said no, then it can be miss- interpolated that she actually was saying yes in another way; if she was saying yes, then there was no rape. At the same time, it is expected that the woman should provoke a man before sexual advances has been made; prove is on the woman to show that actually he did not provoke the man. This has been an area of controversy in court cases; the feminisms advocate for word to word interpreted.

In cases of homosexual, when a sexual advance has been made, the “she-man” is expected to use an understandable language to show his consent; a mere saying of “no” may hold the same weight as that said by a heterosexual woman, however if the no is with a commanding voice it is regarded as a holding no. In this society, the she-man has the responsibility of attracting the partner, despite the heterosexual counterfeits; they are empowered to approach their partner.

The kind of grammar that one uses is influenced by the language that he uses. American grammar is different from English grammar. Grammar is a product of how a person has been taught as far as the use of language is concerned. In American English for instance they have some words that don’t have a “u” the pronunciation of these words is without the “u”.

The same word is written differently in Queens English, they are for example “ honor ”- this is the American version and “honour” the Queen’s English version, another way is in the use of “S” and “Z”. In the American English, there is the use of “Z” in areas that the Queens English uses an “s”.

An example of this is socialization this is in American English and Socialisation in Queens English. If one is reading a text that is written by two people one an American and the other by a Briton, then by looking into such areas, then one can know who is who, this show the role that the use of language can help in identifying the identity of an individual, the need for a physical intersection is not required since language can communicate this.

There are also some words that mean the same but the way that they are spelled in different settings are different, this is not only in the omission of a certain letter or the use of a letter in place of another, but it means a total new name.

An example of this is the word interpolation in American English and interplatation in Queens English. Both the above words mean to have a deeper analysis. Interpolation is not found in Queens English Dictionary and the same case with interplatation. When one is identified to belong to a certain setting the possibility of favours or racism treatment will be experienced.

The use of Shrub language of some names can also be another area that language can be used to show identity. Some areas pronounce the same word with a shrub accent while others do not. An example of this is the pronunciation of the word “issue” to an American it is pronounced as “isiu” and to a Briton it is an ‘ishuu”. When one is conversing, it becomes very easy to realize the nationality of the person by the way he is going to pronounce this name (Baym, 2007).

Literature is any written material describing certain social, economic, and political environment of the issue that can be conveyed orally, through facial expressions, writings, acting, body language, symbols and signs. Every human, physical, historical, and social activity forms part of literature, thus literature continues to grow and take shape every moment in time.

Language is part literature that used to define human personalities, nationality, tribe, beliefs, and opinions among other. It can be used to reinforce some believes in the society, these beliefs include gender existence, the dominance of men, sexuality, and racialism.

Baym, N.(2007). The Norton Anthology American Literature: Beginnings to 1865 . New York: W W Norton & Co Inc.

• How African Culture and Lifestyle Changed the Life of Karen Blixen
• Analysis of (Mary) Flannery O’Connor’s “A Good Man Is Hard to Find”
• History of Sexuality by Foucault
• “History of Sexuality” by Michael Foucault
• Sexuality and Personal Identity Deployment by Foucault
• To Kill a Mockingbird Main Themes
• Social Issues in the "To Kill a Mockingbird" by Harper Lee
• Wangari Maathai's First Person Experience in "Unbowed: A Memoir"
• The Novel: Remarque’s all quiet on the Western Front
• The Contemporary Indian Society
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2018, October 11). What Is Literature? Definition and Meaning. https://ivypanda.com/essays/meaning-of-literature/

"What Is Literature? Definition and Meaning." IvyPanda , 11 Oct. 2018, ivypanda.com/essays/meaning-of-literature/.

IvyPanda . (2018) 'What Is Literature? Definition and Meaning'. 11 October.

IvyPanda . 2018. "What Is Literature? Definition and Meaning." October 11, 2018. https://ivypanda.com/essays/meaning-of-literature/.

1. IvyPanda . "What Is Literature? Definition and Meaning." October 11, 2018. https://ivypanda.com/essays/meaning-of-literature/.

Bibliography

IvyPanda . "What Is Literature? Definition and Meaning." October 11, 2018. https://ivypanda.com/essays/meaning-of-literature/.

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

1 What Is Literature and Why Do We Study It?

In this book created for my English 211 Literary Analysis introductory course for English literature and creative writing majors at the College of Western Idaho, I’ll introduce several different critical approaches that literary scholars may use to answer these questions.  The critical method we apply to a text can provide us with different perspectives as we learn to interpret a text and appreciate its meaning and beauty.

The existence of literature, however we define it, implies that we study literature. While people have been “studying” literature as long as literature has existed, the formal study of literature as we know it in college English literature courses began in the 1940s with the advent of New Criticism. The New Critics were formalists with a vested interest in defining literature–they were, after all, both creating and teaching about literary works. For them, literary criticism was, in fact, as John Crowe Ransom wrote in his 1942 essay “ Criticism, Inc., ” nothing less than “the business of literature.”

Responding to the concern that the study of literature at the university level was often more concerned with the history and life of the author than with the text itself, Ransom responded, “the students of the future must be permitted to study literature, and not merely about literature. But I think this is what the good students have always wanted to do. The wonder is that they have allowed themselves so long to be denied.”

We’ll learn more about New Criticism in Section Three. For now, let’s return to the two questions I posed earlier.

What is literature?

First, what is literature ? I know your high school teacher told you never to look up things on Wikipedia, but for the purposes of literary studies, Wikipedia can actually be an effective resource. You’ll notice that I link to Wikipedia articles occasionally in this book. Here’s how Wikipedia defines literature :

“ Literature  is any collection of  written  work, but it is also used more narrowly for writings specifically considered to be an  art  form, especially  prose   fiction ,  drama , and  poetry . [1]  In recent centuries, the definition has expanded to include  oral literature , much of which has been transcribed. [2] Literature is a method of recording, preserving, and transmitting knowledge and entertainment, and can also have a social, psychological, spiritual, or political role.”

This definition is well-suited for our purposes here because throughout this course, we will be considering several types of literary texts in a variety of contexts.

I’m a Classicist—a student of Greece and Rome and everything they touched—so I am always interested in words with Latin roots. The Latin root of our modern word literature  is  litera , or “letter.” Literature, then, is inextricably intertwined with the act of writing. But what kind of writing?

Who decides which texts are “literature”?

The second question is at least as important as the first one. If we agree that literature is somehow special and different from ordinary writing, then who decides which writings count as literature? Are English professors the only people who get to decide? What qualifications and training does someone need to determine whether or not a text is literature? What role do you as the reader play in this decision about a text?

Let’s consider a few examples of things that we would all probably classify as literature. I think we can all (probably) agree that the works of William Shakespeare are literature. We can look at Toni Morrison’s outstanding ouvre of work and conclude, along with the Nobel Prize Committee, that books such as Beloved   and  Song of Solomon   are literature. And if you’re taking a creative writing course and have been assigned the short stories of Raymond Carver or the poems of Joy Harjo , you’re probably convinced that these texts are literature too.

In each of these three cases, a different “deciding” mechanism is at play. First, with Shakespeare, there’s history and tradition. These plays that were written 500 years ago are still performed around the world and taught in high school and college English classes today. It seems we have consensus about the tragedies, histories, comedies, and sonnets of the Bard of Avon (or whoever wrote the plays).

In the second case, if you haven’t heard of Toni Morrison (and I am very sorry if you haven’t), you probably have heard of the Nobel Prize. This is one of the most prestigious awards given in literature, and since she’s a winner, we can safely assume that Toni Morrison’s works are literature.

Finally, your creative writing professor is an expert in their field. You know they have an MFA (and worked hard for it), so when they share their favorite short stories or poems with you, you trust that they are sharing works considered to be literature, even if you haven’t heard of Raymond Carver or Joy Harjo before taking their class.

(Aside: What about fanfiction? Is fanfiction literature?)

We may have to save the debate about fan fiction for another day, though I introduced it because there’s some fascinating and even literary award-winning fan fiction out there.

Returning to our question, what role do we as readers play in deciding whether something is literature? Like John Crowe Ransom quoted above, I think that the definition of literature should depend on more than the opinions of literary critics and literature professors.

I also want to note that contrary to some opinions, plenty of so-called genre fiction can also be classified as literature. The Nobel Prize winning author Kazuo Ishiguro has written both science fiction and historical fiction. Iain Banks , the British author of the critically acclaimed novel The Wasp Factory , published popular science fiction novels under the name Iain M. Banks. In other words, genre alone can’t tell us whether something is literature or not.

In this book, I want to give you the tools to decide for yourself. We’ll do this by exploring several different critical approaches that we can take to determine how a text functions and whether it is literature. These lenses can reveal different truths about the text, about our culture, and about ourselves as readers and scholars.

“Turf Wars”: Literary criticism vs. authors

It’s important to keep in mind that literature and literary theory have existed in conversation with each other since Aristotle used Sophocles’s play Oedipus Rex to define tragedy. We’ll look at how critical theory and literature complement and disagree with each other throughout this book. For most of literary history, the conversation was largely a friendly one.

But in the twenty-first century, there’s a rising tension between literature and criticism. In his 2016 book Literature Against Criticism: University English and Contemporary Fiction in Conflict, literary scholar Martin Paul Eve argues that twenty-first century authors have developed

a series of novelistic techniques that, whether deliberate or not on the part of the author, function to outmanoeuvre, contain, and determine academic reading practices. This desire to discipline university English through the manipulation and restriction of possible hermeneutic paths is, I contend, a result firstly of the fact that the metafictional paradigm of the high-postmodern era has pitched critical and creative discourses into a type of productive competition with one another. Such tensions and overlaps (or ‘turf wars’) have only increased in light of the ongoing breakdown of coherent theoretical definitions of ‘literature’ as distinct from ‘criticism’ (15).

One of Eve’s points is that by narrowly and rigidly defining the boundaries of literature, university English professors have inadvertently created a situation where the market increasingly defines what “literature” is, despite the protestations of the academy. In other words, the gatekeeper role that literary criticism once played is no longer as important to authors. For example, (almost) no one would call 50 Shades of Grey literature—but the salacious E.L James novel was the bestselling book of the decade from 2010-2019, with more than 35 million copies sold worldwide.

If anyone with a blog can get a six-figure publishing deal , does it still matter that students know how to recognize and analyze literature? I think so, for a few reasons.

• First, the practice of reading critically helps you to become a better reader and writer, which will help you to succeed not only in college English courses but throughout your academic and professional career.
• Second, analysis is a highly sought after and transferable skill. By learning to analyze literature, you’ll practice the same skills you would use to analyze anything important. “Data analyst” is one of the most sought after job positions in the New Economy—and if you can analyze Shakespeare, you can analyze data. Indeed.com’s list of top 10 transferable skills includes analytical skills , which they define as “the traits and abilities that allow you to observe, research and interpret a subject in order to develop complex ideas and solutions.”
• Finally, and for me personally, most importantly, reading and understanding literature makes life make sense. As we read literature, we expand our sense of what is possible for ourselves and for humanity. In the challenges we collectively face today, understanding the world and our place in it will be important for imagining new futures.

A note about using generative artificial intelligence

As I was working on creating this textbook, ChatGPT exploded into academic consciousness. Excited about the possibilities of this new tool, I immediately began incorporating it into my classroom teaching. In this book, I have used ChatGPT to help me with outlining content in chapters. I also used ChatGPT to create sample essays for each critical lens we will study in the course. These essays are dry and rather soulless, but they do a good job of modeling how to apply a specific theory to a literary text. I chose John Donne’s poem “The Canonization” as the text for these essays so that you can see how the different theories illuminate different aspects of the text.

I encourage students in my courses to use ChatGPT in the following ways:

• To generate ideas about an approach to a text.
• To better understand basic concepts.
• To assist with outlining an essay.
• To check grammar, punctuation, spelling, paragraphing, and other grammar/syntax issues.

If you choose to use Chat GPT, please include a brief acknowledgment statement as an appendix to your paper after your Works Cited page explaining how you have used the tool in your work. Here is an example of how to do this from Monash University’s “ Acknowledging the Use of Generative Artificial Intelligence .”

I acknowledge the use of [insert AI system(s) and link] to [specific use of generative artificial intelligence]. The prompts used include [list of prompts]. The output from these prompts was used to [explain use].

Here is more information about how to cite the use of generative AI like ChatGPT in your work. The information below was adapted from “Acknowledging and Citing Generative AI in Academic Work” by Liza Long (CC BY 4.0).

The Modern Language Association (MLA) uses a template of core elements to create citations for a Works Cited page. MLA  asks students to apply this approach when citing any type of generative AI in their work. They provide the following guidelines:

Cite a generative AI tool whenever you paraphrase, quote, or incorporate into your own work any content (whether text, image, data, or other) that was created by it. Acknowledge all functional uses of the tool (like editing your prose or translating words) in a note, your text, or another suitable location. Take care to vet the secondary sources it cites. (MLA)

Here are some examples of how to use and cite generative AI with MLA style:

Example One: Paraphrasing Text

Let’s say that I am trying to generate ideas for a paper on Charlotte Perkins Gilman’s short story “The Yellow Wallpaper.” I ask ChatGPT to provide me with a summary and identify the story’s main themes. Here’s a  link to the chat . I decide that I will explore the problem of identity and self-expression in my paper.

My Paraphrase of ChatGPT with In-Text Citation

The problem of identity and self expression, especially for nineteenth-century women, is a major theme in “The Yellow Wallpaper” by Charlotte Perkins Gilman (“Summarize the short story”).

Works Cited Entry

“Summarize the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman. Include a breakdown of the main themes” prompt.  ChatGPT.  24 May Version, OpenAI, 20 Jul. 2023,  https://chat.openai.com/share/d1526b95-920c-48fc-a9be-83cd7dfa4be5 

Example Two: Quoting Text

In the same chat, I continue to ask ChatGPT about the theme of identity and self expression. Here’s an example of how I could quote the response in the body of my paper:

When I asked  ChatGPT  to describe the theme of identity and self expression, it noted that the eponymous yellow wallpaper acts as a symbol of the narrator’s self-repression. However, when prompted to share the scholarly sources that formed the basis of this observation,  ChatGPT  responded, “As an AI language model, I don’t have access to my training data, but I was trained on a mixture of licensed data, data created by human trainers, and publicly available data. OpenAI, the organization behind my development, has not publicly disclosed the specifics of the individual datasets used, including whether scholarly sources were specifically used” (“Summarize the short story”).

It’s worth noting here that ChatGPT can “ hallucinate ” fake sources. As a Microsoft training manual notes, these chatbots are “built to be persuasive, not truthful” (Weiss &Metz, 2023). The May 24, 2023 version will no longer respond to direct requests for references; however, I was able to get around this restriction fairly easily by asking for “resources” instead.

When I ask for resources to learn more about “The Yellow Wallpaper,” here is one source it recommends:

“Charlotte Perkins Gilman’s The Yellow Wallpaper: A Symptomatic Reading” by Elaine R. Hedges: This scholarly article delves into the psychological and feminist themes of the story, analyzing the narrator’s experience and the implications of the yellow wallpaper on her mental state. It’s available in the journal “Studies in Short Fiction.” (“Summarize the short story”).

Using Google Scholar, I look up this source to see if it’s real. Unsurprisingly, this source is not a real one, but it does lead me to another (real) source: Kasmer, Lisa. “Charlotte Perkins Gilman’s’ The Yellow Wallpaper’: A Symptomatic Reading.”  Literature and Psychology  36.3 (1990): 1.

Note: ALWAYS check any sources that ChatGPT or other generative AI tools recommend.

For more information about integrating and citing generative artificial intelligence tools such as ChatGPT, please see this section of  Write What Matters.

I acknowledge that ChatGPT does not respect the individual rights of authors and artists and ignores concerns over copyright and intellectual property in its training; additionally, I acknowledge that the system was trained in part through the exploitation of precarious workers in the global south. In this work I specifically used ChatGPT to assist with outlining chapters, providing background information about critical lenses, and creating “model” essays for the critical lenses we will learn about together. I have included links to my chats in an appendix to this book.

Critical theories: A targeted approach to writing about literature

Ultimately, there’s not one “right” way to read a text. In this book. we will explore a variety of critical theories that scholars use to analyze literature. The book is organized around different targets that are associated with the approach introduced in each chapter. In the introduction, for example, our target is literature. In future chapters you’ll explore these targeted analysis techniques:

• Author: Biographical Criticism
• Text: New Criticism
• Reader: Reader Response Criticism
• Gap: Deconstruction (Post-Structuralism)
• Context: New Historicism and Cultural Studies
• Power: Marxist and Postcolonial Criticism
• Mind: Psychological Criticism
• Gender: Feminist, Post Feminist, and Queer Theory
• Nature: Ecocriticism

Each chapter will feature the target image with the central approach in the center. You’ll read a brief introduction about the theory, explore some primary texts (both critical and literary), watch a video, and apply the theory to a primary text. Each one of these theories could be the subject of its own entire course, so keep in mind that our goal in this book is to introduce these theories and give you a basic familiarity with these tools for literary analysis. For more information and practice, I recommend Steven Lynn’s excellent Texts and Contexts: Writing about Literature with Critical Theory , which provides a similar introductory framework.

I am so excited to share these tools with you and see you grow as a literary scholar. As we explore each of these critical worlds, you’ll likely find that some critical theories feel more natural or logical to you than others. I find myself much more comfortable with deconstruction than with psychological criticism, for example. Pay attention to how these theories work for you because this will help you to expand your approaches to texts and prepare you for more advanced courses in literature.

P.S. If you want to know what my favorite book is, I usually tell people it’s Herman Melville’s Moby Dick . And I do love that book! But I really have no idea what my “favorite” book of all time is, let alone what my favorite book was last year. Every new book that I read is a window into another world and a template for me to make sense out of my own experience and better empathize with others. That’s why I love literature. I hope you’ll love this experience too.

writings in prose or verse, especially :  writings having excellence of form or expression and expressing ideas of permanent or universal interest (Merriam Webster)

Critical Worlds Copyright © 2024 by Liza Long is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

Share This Book

Literary Theory and Criticism

Home › Kannur University › Analysis of Terry Eagleton’s What is Literature

Analysis of Terry Eagleton’s What is Literature

By NASRULLAH MAMBROL on February 4, 2024

Terry Eagleton’s exploration of the definition of literature in his introduction to “What is Literature?” presents a multifaceted inquiry into the nature of literary discourse. Eagleton begins by questioning the very existence of literary theory, suggesting that if such a theory exists, then there must also be something identifiable as literature which it seeks to understand. From this starting point, he delves into various attempts to define literature, dissecting common conceptions and proposing alternative perspectives.

One prevalent notion Eagleton critiques is the simplistic classification of literature as imaginative fiction. While fiction certainly falls within the realm of literature, Eagleton argues that this definition fails to encompass the breadth of texts typically considered literary. He illustrates this point by highlighting the inclusion of diverse genres and forms in literary canons, ranging from Shakespearean plays to philosophical treatises and historical accounts.

Eagleton then challenges the distinction between fact and fiction, suggesting that it is often blurred and context-dependent. He discusses how literary language deviates from ordinary speech, employing techniques that intensify and transform language, thereby drawing attention to its materiality. This perspective aligns with the Russian formalists’ view of literature as an “organized violence committed on ordinary speech,” where literary texts systematically depart from everyday language norms.

The essay further examines formalist principles, emphasizing the significance of literary devices and the estrangement effect in literary language. Eagleton elucidates how the Formalists analyzed literary form independently of content, viewing literature as a self-contained system governed by specific laws and structures. This approach challenged traditional interpretations of literature as a reflection of reality or the author’s mind, instead focusing on the linguistic aspects of the text itself.

However, Eagleton acknowledges the limitations of formalist theories, particularly their failure to account for the variability of norms and deviations across different social and historical contexts. He underscores the subjective nature of literary valuation, highlighting how literary status can change over time and vary among individuals and communities. Eagleton ultimately rejects the idea of a stable, objective definition of literature, proposing that it is better understood as a socially constructed category shaped by shifting cultural and aesthetic standards.

Terry Eagleton’s essay explores the dynamic relationship between literature, interpretation, and societal values. He argues that literary works are continually reinterpreted by different historical periods and societies, leading to the construction of distinct versions of canonical texts tailored to their own concerns and ideologies. Terry Eagleton challenges the notion of purely objective interpretation, suggesting that all readings are inherently influenced by subjective values and societal contexts.

He emphasizes the intertwined nature of factual statements and value judgments, asserting that even seemingly objective statements are laden with underlying value-categories. Terry Eagleton critiques the idea of “value-free” knowledge, highlighting the inherent connection between interests, beliefs, and knowledge acquisition.

Furthermore, he delves into the concept of ideology, defining it as the ways in which beliefs and expressions connect with societal power structures. Terry Eagleton illustrates this through an analysis of literary criticism, demonstrating how unconscious biases and social backgrounds shape interpretations of literary works.

Overall, Terry Eagleton’s essay challenges traditional notions of literary interpretation and underscores the profound influence of societal values on our understanding of literature. By critically engaging with various theoretical perspectives and historical contexts, he challenges readers to reconsider their assumptions about what constitutes literature and to recognize the fluidity of literary categorization.

Share this:

Categories: Kannur University

Tags: Analysis of Terry Eagleton's What is Literature , Appreciation of Terry Eagleton's What is Literature , Criticism of Terry Eagleton's What is Literature , Discussion of Terry Eagleton's What is Literature , Essays of Terry Eagleton's What is Literature , Guide of Terry Eagleton's What is Literature , Plot of Terry Eagleton's What is Literature , Summary of Terry Eagleton's What is Literature , Terry Eagleton , Terry Eagleton's definition of literature , Themes of Terry Eagleton's What is Literature , What is Literature according to Terry Eagleton

Related Articles

You must be logged in to post a comment.

Last updated 2nd August 2024: Online ordering is currently unavailable due to technical issues. As we resolve the issues resulting from this, we are also experiencing some delays to publication. We are working hard to restore services as soon as possible and apologise for the inconvenience. For further updates please visit our website https://www.cambridge.org/news-and-insights/technical-incident

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings .

Login Alert

• < Back to search results
• The Definition of Literature and Other Essays

The Definition of Literature and Other Essays

• Get access Buy a print copy Check if you have access via personal or institutional login Log in Register

This Book has been cited by the following publications. This list is generated based on data provided by Crossref .

• Google Scholar
• W. W. Robson
• Export citation
• Buy a print copy

Book description

Professor W. W. Robson is an eminent literary critic, best known for his work on nineteenth- and twentieth-century literature. His natural form of expression is the critical essay, and this book comprises a collection of essays on a variety of topics written in plain and straightforward language. What holds the collection together is a preoccupation with critical theory deployed in the first four essays. In 'The definition of literature', the title essay, the discussion turns on what kind of definition is to be recommended rather than on a particular formulation. 'On liberty of interpreting' examines the much-canvassed question of the relevance or otherwise to criticism of the author's intentions. In another essay it is argued that one widely favoured account of literary appraisal - that it deals with literature as literature - is in fact empty, while in an essay on the novel the author raises the question of how prose fiction can be thought of as being true to life. From these general questions Professor Robson moves on to consider particular works and authors in the light of the preceding discussion of critical principles. Essays on Treasure Island, Kidnapped and The Wind in the Willows are followed by surveys of Tennyson and Robert Frost, while the last four essays discuss literary questions by analysing what has been written about them by four distinguished poet critics: Hopkins, T. S. Eliot, I. A. Richards, and Yvor Winters. The overall aim of the volume is to take conversation about prose and poetry out of the limited and specialized literary or academic worlds in which it so often takes place and open it up to a broader world of reflective people, whoever and wherever they happen to be.

‘Assured yet modest; tolerant, yet affirmative of his own values; capable of gentle but firm critical rebuke to perpetrators of illogicality and confusion; generous in seeking out what is of worth where it can be found, but impatient of silliness and pretentiousness; fresh and original in argument yet never freakish or exhibitionist; all this can be said of these essays and of the personality that can be discerned behind them.’

David Daiches Source: The Times Higher Education Supplement

‘This splendid collection of essays …’

Source: The Times Higher Education Supplement

‘ … it’s good to find the commonsense tradition still in such good heart.’

Source: The Listener

• Aa Reduce text
• Aa Enlarge text

Refine List

Actions for selected content:.

• View selected items
• Save to my bookmarks
• Export citations
• Download PDF (zip)
• Save to Kindle
• Save to Dropbox
• Save to Google Drive

Save content to

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to .

To save content items to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle .

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service .

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Frontmatter pp i-vi

• Get access Check if you have access via personal or institutional login Log in Register

Contents pp vii-vii

Preface pp viii-viii, bibliographical note pp ix-x, 1 - the definition of literature pp 1-19, 2 - on liberty of interpreting pp 20-39, 3 - evaluative criticism, and criticism without evaluation pp 40-56, 4 - the novel: a critical impasse pp 57-78, 5 - the sea cook: a study in the art of robert louis stevenson pp 79-96, 6 - on kidnapped pp 97-118, 7 - on the wind in the willows pp 119-144, 8 - the present value of tennyson pp 145-167, 9 - robert frost pp 168-195, 10 - hopkins and literary criticism pp 196-215, 11 - t. s. eliot: a poet's notebook pp 216-236, 12 - i. a. richards pp 237-245, 13 - yvor winters: counter-romantic pp 246-267, altmetric attention score, full text views.

Full text views reflects the number of PDF downloads, PDFs sent to Google Drive, Dropbox and Kindle and HTML full text views for chapters in this book.

Book summary page views

Book summary views reflect the number of visits to the book and chapter landing pages.

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.

• Literary Terms
• Definition & Examples
• When & How to Write an Essay

I. What is an Essay?

An essay is a form of writing in paragraph form that uses informal language, although it can be written formally. Essays may be written in first-person point of view (I, ours, mine), but third-person (people, he, she) is preferable in most academic essays. Essays do not require research as most academic reports and papers do; however, they should cite any literary works that are used within the paper.

When thinking of essays, we normally think of the five-paragraph essay: Paragraph 1 is the introduction, paragraphs 2-4 are the body covering three main ideas, and paragraph 5 is the conclusion. Sixth and seventh graders may start out with three paragraph essays in order to learn the concepts. However, essays may be longer than five paragraphs. Essays are easier and quicker to read than books, so are a preferred way to express ideas and concepts when bringing them to public attention.

II. Examples of Essays

Many of our most famous Americans have written essays. Benjamin Franklin, Thomas Paine, and Thomas Jefferson wrote essays about being good citizens and concepts to build the new United States. In the pre-Civil War days of the 1800s, people such as:

• Ralph Waldo Emerson (an author) wrote essays on self-improvement
• Susan B. Anthony wrote on women’s right to vote
• Frederick Douglass wrote on the issue of African Americans’ future in the U.S.

Through each era of American history, well-known figures in areas such as politics, literature, the arts, business, etc., voiced their opinions through short and long essays.

The ultimate persuasive essay that most students learn about and read in social studies is the “Declaration of Independence” by Thomas Jefferson in 1776. Other founding fathers edited and critiqued it, but he drafted the first version. He builds a strong argument by stating his premise (claim) then proceeds to give the evidence in a straightforward manner before coming to his logical conclusion.

III. Types of Essays

A. expository.

Essays written to explore and explain ideas are called expository essays (they expose truths). These will be more formal types of essays usually written in third person, to be more objective. There are many forms, each one having its own organizational pattern.  Cause/Effect essays explain the reason (cause) for something that happens after (effect). Definition essays define an idea or concept. Compare/ Contrast essays will look at two items and show how they are similar (compare) and different (contrast).

b. Persuasive

An argumentative paper presents an idea or concept with the intention of attempting to change a reader’s mind or actions . These may be written in second person, using “you” in order to speak to the reader. This is called a persuasive essay. There will be a premise (claim) followed by evidence to show why you should believe the claim.

c. Narrative

Narrative means story, so narrative essays will illustrate and describe an event of some kind to tell a story. Most times, they will be written in first person. The writer will use descriptive terms, and may have paragraphs that tell a beginning, middle, and end in place of the five paragraphs with introduction, body, and conclusion. However, if there is a lesson to be learned, a five-paragraph may be used to ensure the lesson is shown.

d. Descriptive

The goal of a descriptive essay is to vividly describe an event, item, place, memory, etc. This essay may be written in any point of view, depending on what’s being described. There is a lot of freedom of language in descriptive essays, which can include figurative language, as well.

IV. The Importance of Essays

Essays are an important piece of literature that can be used in a variety of situations. They’re a flexible type of writing, which makes them useful in many settings . History can be traced and understood through essays from theorists, leaders, artists of various arts, and regular citizens of countries throughout the world and time. For students, learning to write essays is also important because as they leave school and enter college and/or the work force, it is vital for them to be able to express themselves well.

V. Examples of Essays in Literature

Sir Francis Bacon was a leading philosopher who influenced the colonies in the 1600s. Many of America’s founding fathers also favored his philosophies toward government. Bacon wrote an essay titled “Of Nobility” in 1601 , in which he defines the concept of nobility in relation to people and government. The following is the introduction of his definition essay. Note the use of “we” for his point of view, which includes his readers while still sounding rather formal.

 “We will speak of nobility, first as a portion of an estate, then as a condition of particular persons. A monarchy, where there is no nobility at all, is ever a pure and absolute tyranny; as that of the Turks. For nobility attempers sovereignty, and draws the eyes of the people, somewhat aside from the line royal. But for democracies, they need it not; and they are commonly more quiet, and less subject to sedition, than where there are stirps of nobles. For men’s eyes are upon the business, and not upon the persons; or if upon the persons, it is for the business’ sake, as fittest, and not for flags and pedigree. We see the Switzers last well, notwithstanding their diversity of religion, and of cantons. For utility is their bond, and not respects. The united provinces of the Low Countries, in their government, excel; for where there is an equality, the consultations are more indifferent, and the payments and tributes, more cheerful. A great and potent nobility, addeth majesty to a monarch, but diminisheth power; and putteth life and spirit into the people, but presseth their fortune. It is well, when nobles are not too great for sovereignty nor for justice; and yet maintained in that height, as the insolency of inferiors may be broken upon them, before it come on too fast upon the majesty of kings. A numerous nobility causeth poverty, and inconvenience in a state; for it is a surcharge of expense; and besides, it being of necessity, that many of the nobility fall, in time, to be weak in fortune, it maketh a kind of disproportion, between honor and means.”

A popular modern day essayist is Barbara Kingsolver. Her book, “Small Wonders,” is full of essays describing her thoughts and experiences both at home and around the world. Her intention with her essays is to make her readers think about various social issues, mainly concerning the environment and how people treat each other. The link below is to an essay in which a child in an Iranian village she visited had disappeared. The boy was found three days later in a bear’s cave, alive and well, protected by a mother bear. She uses a narrative essay to tell her story.

VI. Examples of Essays in Pop Culture

Many rap songs are basically mini essays, expressing outrage and sorrow over social issues today, just as the 1960s had a lot of anti-war and peace songs that told stories and described social problems of that time. Any good song writer will pay attention to current events and express ideas in a creative way.

A well-known essay written in 1997 by Mary Schmich, a columnist with the Chicago Tribune, was made into a popular video on MTV by Baz Luhrmann. Schmich’s thesis is to wear sunscreen, but she adds strong advice with supporting details throughout the body of her essay, reverting to her thesis in the conclusion.

VII. Related Terms

Research paper.

Research papers follow the same basic format of an essay. They have an introductory paragraph, the body, and a conclusion. However, research papers have strict guidelines regarding a title page, header, sub-headers within the paper, citations throughout and in a bibliography page, the size and type of font, and margins. The purpose of a research paper is to explore an area by looking at previous research. Some research papers may include additional studies by the author, which would then be compared to previous research. The point of view is an objective third-person. No opinion is allowed. Any claims must be backed up with research.

VIII. Conclusion

Students dread hearing that they are going to write an essay, but essays are one of the easiest and most relaxed types of writing they will learn. Mastering the essay will make research papers much easier, since they have the same basic structure. Many historical events can be better understood through essays written by people involved in those times. The continuation of essays in today’s times will allow future historians to understand how our new world of technology and information impacted us.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

• History & Society
• Science & Tech
• Biographies
• Animals & Nature
• Geography & Travel
• Arts & Culture
• Games & Quizzes
• On This Day
• One Good Fact
• New Articles
• Lifestyles & Social Issues
• Philosophy & Religion
• Politics, Law & Government
• World History
• Health & Medicine
• Browse Biographies
• Birds, Reptiles & Other Vertebrates
• Bugs, Mollusks & Other Invertebrates
• Environment
• Fossils & Geologic Time
• Entertainment & Pop Culture
• Sports & Recreation
• Visual Arts
• Demystified
• Image Galleries
• Infographics
• Top Questions
• Britannica Kids
• Saving Earth
• Space Next 50
• Student Center

• What was Alexander Hamilton’s early life like?
• Why is Alexander Hamilton famous?
• Why is Jean-Jacques Rousseau famous?
• What is William Blake’s poetry about?
• What is William Blake’s legacy?

Our editors will review what you’ve submitted and determine whether to revise the article.

• University of Wollongong - Essays
• Purdue University - Purdue Online Writing Lab - Essay Writing
• Pressbooks Create - The Writing Textbook - Essay Basics
• Humanities LibreTexts - Types of Essays
• BCcampus Open Publishing - Fraser Valley India's Writing for Success for LMS - The Structure of a Persuasive Essay
• Literary Devices - Definition of Essay
• University of Oxford - Essay and dissertation writing skills
• University of Babylon - What is an Essay?
• essay - Student Encyclopedia (Ages 11 and up)

essay , an analytic , interpretative, or critical literary composition usually much shorter and less systematic and formal than a dissertation or thesis and usually dealing with its subject from a limited and often personal point of view.

Some early treatises—such as those of Cicero on the pleasantness of old age or on the art of “divination,” Seneca on anger or clemency , and Plutarch on the passing of oracles—presage to a certain degree the form and tone of the essay, but not until the late 16th century was the flexible and deliberately nonchalant and versatile form of the essay perfected by the French writer Michel de Montaigne . Choosing the name essai to emphasize that his compositions were attempts or endeavours, a groping toward the expression of his personal thoughts and experiences, Montaigne used the essay as a means of self-discovery. His Essais , published in their final form in 1588, are still considered among the finest of their kind. Later writers who most nearly recall the charm of Montaigne include, in England, Robert Burton , though his whimsicality is more erudite , Sir Thomas Browne , and Laurence Sterne , and in France, with more self-consciousness and pose, André Gide and Jean Cocteau .

At the beginning of the 17th century, social manners, the cultivation of politeness, and the training of an accomplished gentleman became the theme of many essayists. This theme was first exploited by the Italian Baldassare Castiglione in his Il libro del cortegiano (1528; The Book of the Courtier ). The influence of the essay and of genres allied to it, such as maxims, portraits, and sketches, proved second to none in molding the behavior of the cultured classes, first in Italy, then in France, and, through French influence, in most of Europe in the 17th century. Among those who pursued this theme was the 17th-century Spanish Jesuit Baltasar Gracián in his essays on the art of worldly wisdom.

Keener political awareness in the 18th century, the age of Enlightenment , made the essay an all-important vehicle for the criticism of society and religion. Because of its flexibility, its brevity , and its potential both for ambiguity and for allusions to current events and conditions, it was an ideal tool for philosophical reformers. The Federalist Papers in America and the tracts of the French Revolutionaries are among the countless examples of attempts during this period to improve the human condition through the essay.

The genre also became the favoured tool of traditionalists of the 18th and 19th centuries, such as Edmund Burke and Samuel Taylor Coleridge , who looked to the short, provocative essay as the most potent means of educating the masses. Essays such as Paul Elmer More’s long series of Shelburne Essays (published between 1904 and 1935), T.S. Eliot ’s After Strange Gods (1934) and Notes Towards the Definition of Culture (1948), and others that attempted to reinterpret and redefine culture , established the genre as the most fitting to express the genteel tradition at odds with the democracy of the new world.

Whereas in several countries the essay became the chosen vehicle of literary and social criticism, in other countries the genre became semipolitical, earnestly nationalistic, and often polemical, playful, or bitter. Essayists such as Robert Louis Stevenson and Willa Cather wrote with grace on several lighter subjects, and many writers—including Virginia Woolf , Edmund Wilson , and Charles du Bos —mastered the essay as a form of literary criticism .

Have a language expert improve your writing

Run a free plagiarism check in 10 minutes, generate accurate citations for free.

• Knowledge Base
• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

Instantly correct all language mistakes in your text

Upload your document to correct all your mistakes in minutes

Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

Receive feedback on language, structure, and formatting

Professional editors proofread and edit your paper by focusing on:

• Academic style
• Vague sentences
• Style consistency

See an example

Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

• Choosing Essay Topic
• Write a College Essay
• Write a Diversity Essay
• College Essay Format & Structure
• Comparing and Contrasting in an Essay

 (AI) Tools

• Grammar Checker
• Paraphrasing Tool
• Text Summarizer
• AI Detector
• Plagiarism Checker
• Citation Generator

By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

Caulfield, J. (2023, August 14). How to Write a Literary Analysis Essay | A Step-by-Step Guide. Scribbr. Retrieved August 4, 2024, from https://www.scribbr.com/academic-essay/literary-analysis/

Is this article helpful?

The Essay: History and Definition

Attempts at Defining Slippery Literary Form

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

"One damned thing after another" is how Aldous Huxley described the essay: "a literary device for saying almost everything about almost anything."

As definitions go, Huxley's is no more or less exact than Francis Bacon's "dispersed meditations," Samuel Johnson's "loose sally of the mind" or Edward Hoagland's "greased pig."

Since Montaigne adopted the term "essay" in the 16th century to describe his "attempts" at self-portrayal in prose , this slippery form has resisted any sort of precise, universal definition. But that won't an attempt to define the term in this brief article.

In the broadest sense, the term "essay" can refer to just about any short piece of nonfiction  -- an editorial, feature story, critical study, even an excerpt from a book. However, literary definitions of a genre are usually a bit fussier.

One way to start is to draw a distinction between articles , which are read primarily for the information they contain, and essays, in which the pleasure of reading takes precedence over the information in the text . Although handy, this loose division points chiefly to kinds of reading rather than to kinds of texts. So here are some other ways that the essay might be defined.

Standard definitions often stress the loose structure or apparent shapelessness of the essay. Johnson, for example, called the essay "an irregular, indigested piece, not a regular and orderly performance."

True, the writings of several well-known essayists ( William Hazlitt and Ralph Waldo Emerson , for instance, after the fashion of Montaigne) can be recognized by the casual nature of their explorations -- or "ramblings." But that's not to say that anything goes. Each of these essayists follows certain organizing principles of his own.

Oddly enough, critics haven't paid much attention to the principles of design actually employed by successful essayists. These principles are rarely formal patterns of organization , that is, the "modes of exposition" found in many composition textbooks. Instead, they might be described as patterns of thought -- progressions of a mind working out an idea.

Unfortunately, the customary divisions of the essay into opposing types --  formal and informal, impersonal and familiar  -- are also troublesome. Consider this suspiciously neat dividing line drawn by Michele Richman:

Post-Montaigne, the essay split into two distinct modalities: One remained informal, personal, intimate, relaxed, conversational and often humorous; the other, dogmatic, impersonal, systematic and expository .

The terms used here to qualify the term "essay" are convenient as a kind of critical shorthand, but they're imprecise at best and potentially contradictory. Informal can describe either the shape or the tone of the work -- or both. Personal refers to the stance of the essayist, conversational to the language of the piece, and expository to its content and aim. When the writings of particular essayists are studied carefully, Richman's "distinct modalities" grow increasingly vague.

But as fuzzy as these terms might be, the qualities of shape and personality, form and voice, are clearly integral to an understanding of the essay as an artful literary kind. 

Many of the terms used to characterize the essay -- personal, familiar, intimate, subjective, friendly, conversational -- represent efforts to identify the genre's most powerful organizing force: the rhetorical voice or projected character (or persona ) of the essayist.

In his study of Charles Lamb , Fred Randel observes that the "principal declared allegiance" of the essay is to "the experience of the essayistic voice." Similarly, British author Virginia Woolf has described this textual quality of personality or voice as "the essayist's most proper but most dangerous and delicate tool."

Similarly, at the beginning of "Walden, "  Henry David Thoreau reminds the reader that "it is ... always the first person that is speaking." Whether expressed directly or not, there's always an "I" in the essay -- a voice shaping the text and fashioning a role for the reader.

Fictional Qualities

The terms "voice" and "persona" are often used interchangeably to suggest the rhetorical nature of the essayist himself on the page. At times an author may consciously strike a pose or play a role. He can, as E.B. White confirms in his preface to "The Essays," "be any sort of person, according to his mood or his subject matter." 

In "What I Think, What I Am," essayist Edward Hoagland points out that "the artful 'I' of an essay can be as chameleon as any narrator in fiction." Similar considerations of voice and persona lead Carl H. Klaus to conclude that the essay is "profoundly fictive":

It seems to convey the sense of human presence that is indisputably related to its author's deepest sense of self, but that is also a complex illusion of that self -- an enactment of it as if it were both in the process of thought and in the process of sharing the outcome of that thought with others.

But to acknowledge the fictional qualities of the essay isn't to deny its special status as nonfiction.

Reader's Role

A basic aspect of the relationship between a writer (or a writer's persona) and a reader (the implied audience ) is the presumption that what the essayist says is literally true. The difference between a short story, say, and an autobiographical essay  lies less in the narrative structure or the nature of the material than in the narrator's implied contract with the reader about the kind of truth being offered.

Under the terms of this contract, the essayist presents experience as it actually occurred -- as it occurred, that is, in the version by the essayist. The narrator of an essay, the editor George Dillon says, "attempts to convince the reader that its model of experience of the world is valid." 

In other words, the reader of an essay is called on to join in the making of meaning. And it's up to the reader to decide whether to play along. Viewed in this way, the drama of an essay might lie in the conflict between the conceptions of self and world that the reader brings to a text and the conceptions that the essayist tries to arouse.

At Last, a Definition—of Sorts

With these thoughts in mind, the essay might be defined as a short work of nonfiction, often artfully disordered and highly polished, in which an authorial voice invites an implied reader to accept as authentic a certain textual mode of experience.

Sure. But it's still a greased pig.

Sometimes the best way to learn exactly what an essay is -- is to read some great ones. You'll find more than 300 of them in this collection of  Classic British and American Essays and Speeches .

• Periodical Essay Definition and Examples
• Learn How to Use Extended Definitions in Essays and Speeches
• Understanding General-to-Specific Order in Composition
• Definition and Examples of Humorous Essays
• Thesis: Definition and Examples in Composition
• Definition Examples of Collage Essays
• Reading Quiz on 'Why I Want a Wife' by Judy Brady
• Best Practices for the Most Effective Use of Paragraphs
• 11 Weird and Interesting Words in English
• Definition and Examples of Symbolic Action
• What Is a Compound Verb?
• Definition and Examples of Formal Essays
• Conclusion in Compositions
• personal statement (essay)
• Definition and Examples of Body Paragraphs in Composition
• Topic In Composition and Speech

Theme Definition

What is theme? Here’s a quick and simple definition:

A theme is a universal idea, lesson, or message explored throughout a work of literature. One key characteristic of literary themes is their universality, which is to say that themes are ideas that not only apply to the specific characters and events of a book or play, but also express broader truths about human experience that readers can apply to their own lives. For instance, John Steinbeck's The Grapes of Wrath (about a family of tenant farmers who are displaced from their land in Oklahoma) is a book whose themes might be said to include the inhumanity of capitalism, as well as the vitality and necessity of family and friendship.

Some additional key details about theme:

• All works of literature have themes. The same work can have multiple themes, and many different works explore the same or similar themes.
• Themes are sometimes divided into thematic concepts and thematic statements . A work's thematic concept is the broader topic it touches upon (love, forgiveness, pain, etc.) while its thematic statement is what the work says about that topic. For example, the thematic concept of a romance novel might be love, and, depending on what happens in the story, its thematic statement might be that "Love is blind," or that "You can't buy love . "
• Themes are almost never stated explicitly. Oftentimes you can identify a work's themes by looking for a repeating symbol , motif , or phrase that appears again and again throughout a story, since it often signals a recurring concept or idea.

Theme Pronunciation

Here's how to pronounce theme: theem

Identifying Themes

Every work of literature—whether it's an essay, a novel, a poem, or something else—has at least one theme. Therefore, when analyzing a given work, it's always possible to discuss what the work is "about" on two separate levels: the more concrete level of the plot (i.e., what literally happens in the work), as well as the more abstract level of the theme (i.e., the concepts that the work deals with). Understanding the themes of a work is vital to understanding the work's significance—which is why, for example, every LitCharts Literature Guide uses a specific set of themes to help analyze the text.

Although some writers set out to explore certain themes in their work before they've even begun writing, many writers begin to write without a preconceived idea of the themes they want to explore—they simply allow the themes to emerge naturally through the writing process. But even when writers do set out to investigate a particular theme, they usually don't identify that theme explicitly in the work itself. Instead, each reader must come to their own conclusions about what themes are at play in a given work, and each reader will likely come away with a unique thematic interpretation or understanding of the work.

Symbol, Motif, and Leitwortstil

Writers often use three literary devices in particular—known as symbol , motif , and leitwortstil —to emphasize or hint at a work's underlying themes. Spotting these elements at work in a text can help you know where to look for its main themes.

• Near the beginning of Romeo and Juliet , Benvolio promises to make Romeo feel better about Rosaline's rejection of him by introducing him to more beautiful women, saying "Compare [Rosaline's] face with some that I shall show….and I will make thee think thy swan a crow." Here, the swan is a symbol for how Rosaline appears to the adoring Romeo, while the crow is a symbol for how she will soon appear to him, after he has seen other, more beautiful women.
• Symbols might occur once or twice in a book or play to represent an emotion, and in that case aren't necessarily related to a theme. However, if you start to see clusters of similar symbols appearing in a story, this may mean that the symbols are part of an overarching motif, in which case they very likely are related to a theme.
• For example, Shakespeare uses the motif of "dark vs. light" in Romeo and Juliet to emphasize one of the play's main themes: the contradictory nature of love. To develop this theme, Shakespeare describes the experience of love by pairing contradictory, opposite symbols next to each other throughout the play: not only crows and swans, but also night and day, moon and sun. These paired symbols all fall into the overall pattern of "dark vs. light," and that overall pattern is called a motif.
• A famous example is Kurt Vonnegut's repetition of the phrase "So it goes" throughout his novel Slaughterhouse Five , a novel which centers around the events of World War II. Vonnegut's narrator repeats the phrase each time he recounts a tragic story from the war, an effective demonstration of how the horrors of war have become normalized for the narrator. The constant repetition of the phrase emphasizes the novel's primary themes: the death and destruction of war, and the futility of trying to prevent or escape such destruction, and both of those things coupled with the author's skepticism that any of the destruction is necessary and that war-time tragedies "can't be helped."

Symbol, motif and leitwortstil are simply techniques that authors use to emphasize themes, and should not be confused with the actual thematic content at which they hint. That said, spotting these tools and patterns can give you valuable clues as to what might be the underlying themes of a work.

Thematic Concepts vs. Thematic Statements

A work's thematic concept is the broader topic it touches upon—for instance:

• Forgiveness

while its thematic statement is the particular argument the writer makes about that topic through his or her work, such as:

• Human judgement is imperfect.
• Love cannot be bought.
• Getting revenge on someone else will not fix your problems.
• Learning to forgive is part of becoming an adult.

Should You Use Thematic Concepts or Thematic Statements?

Some people argue that when describing a theme in a work that simply writing a thematic concept is insufficient, and that instead the theme must be described in a full sentence as a thematic statement. Other people argue that a thematic statement, being a single sentence, usually creates an artificially simplistic description of a theme in a work and is therefore can actually be more misleading than helpful. There isn't really a right answer in this debate.

In our LitCharts literature study guides , we usually identify themes in headings as thematic concepts, and then explain the theme more fully in a few paragraphs. We find thematic statements limiting in fully exploring or explaining a the theme, and so we don't use them. Please note that this doesn't mean we only rely on thematic concepts—we spend paragraphs explaining a theme after we first identify a thematic concept. If you are asked to describe a theme in a text, you probably should usually try to at least develop a thematic statement about the text if you're not given the time or space to describe it more fully. For example, a statement that a book is about "the senselessness of violence" is a lot stronger and more compelling than just saying that the book is about "violence."

Identifying Thematic Statements

One way to try to to identify or describe the thematic statement within a particular work is to think through the following aspects of the text:

• Plot: What are the main plot elements in the work, including the arc of the story, setting, and characters. What are the most important moments in the story? How does it end? How is the central conflict resolved?
• Protagonist: Who is the main character, and what happens to him or her? How does he or she develop as a person over the course of the story?
• Prominent symbols and motifs: Are there any motifs or symbols that are featured prominently in the work—for example, in the title, or recurring at important moments in the story—that might mirror some of the main themes?

After you've thought through these different parts of the text, consider what their answers might tell you about the thematic statement the text might be trying to make about any given thematic concept. The checklist above shouldn't be thought of as a precise formula for theme-finding, but rather as a set of guidelines, which will help you ask the right questions and arrive at an interesting thematic interpretation.

Theme Examples

The following examples not only illustrate how themes develop over the course of a work of literature, but they also demonstrate how paying careful attention to detail as you read will enable you to come to more compelling conclusions about those themes.

Themes in F. Scott Fitzgerald's The Great Gatsby

Fitzgerald explores many themes in The Great Gatsby , among them the corruption of the American Dream .

• The story's narrator is Minnesota-born Nick Caraway, a New York bonds salesman. Nick befriends Jay Gatsby, the protagonist, who is a wealthy man who throws extravagant parties at his mansion.
• The central conflict of the novel is Gatsby's pursuit of Daisy, whom he met and fell in love with as a young man, but parted from during World War I.
• He makes a fortune illegally by bootlegging alcohol, to become the sort of wealthy man he believes Daisy is attracted to, then buys a house near her home, where she lives with her husband.
• While he does manage to re-enter Daisy's life, she ultimately abandons him and he dies as a result of her reckless, selfish behavior.
• Gatsby's house is on the water, and he stares longingly across the water at a green light that hangs at the edge of a dock at Daisy's house which sits across a the bay. The symbol of the light appears multiple times in the novel—during the early stages of Gatsby's longing for Daisy, during his pursuit of her, and after he dies without winning her love. It symbolizes both his longing for daisy and the distance between them (the distance of space and time) that he believes (incorrectly) that he can bridge. 
• In addition to the green light, the color green appears regularly in the novel. This motif of green broadens and shapes the symbolism of the green light and also influences the novel's themes. While green always remains associated with Gatsby's yearning for Daisy and the past, and also his ambitious striving to regain Daisy, it also through the motif of repeated green becomes associated with money, hypocrisy, and destruction. Gatsby's yearning for Daisy, which is idealistic in some ways, also becomes clearly corrupt in others, which more generally impacts what the novel is saying about dreams more generally and the American Dream in particular. 

Gatsby pursues the American Dream, driven by the idea that hard work can lead anyone from poverty to wealth, and he does so for a single reason: he's in love with Daisy. However, he pursues the dream dishonestly, making a fortune by illegal means, and ultimately fails to achieve his goal of winning Daisy's heart. Furthermore, when he actually gets close to winning Daisy's heart, she brings about his downfall. Through the story of Gatsby and Daisy, Fitzgerald expresses the point of view that the American Dream carries at its core an inherent corruption. You can read more about the theme of The American Dream in The Great Gatsby here .

Themes in Chinua Achebe's Things Fall Apart

In Things Fall Apart , Chinua Achebe explores the theme of the dangers of rigidly following tradition .

• Okonkwo is obsessed with embodying the masculine ideals of traditional Igbo warrior culture.
• Okonkwo's dedication to his clan's traditions is so extreme that it even alienates members of his own family, one of whom joins the Christians.
• The central conflict: Okonkwo's community adapts to colonization in order to survive, becoming less warlike and allowing the minor injustices that the colonists inflict upon them to go unchallenged. Okonkwo, however, refuses to adapt.
• At the end of the novel, Okonkwo impulsively kills a Christian out of anger. Recognizing that his community does not support his crime, Okonkwo kills himself in despair.
• Clanswomen who give birth to twins abandon the babies in the forest to die, according to traditional beliefs that twins are evil.
• Okonkwo kills his beloved adopted son, a prisoner of war, according to the clan's traditions.
• Okonkwo sacrifices a goat in repentence, after severely beating his wife during the clan's holy week.

Through the tragic story of Okonkwo, Achebe is clearly dealing with the theme of tradition, but a close examination of the text reveals that he's also making a clear thematic statement that following traditions too rigidly leads people to the greatest sacrifice of all: that of personal agency . You can read more about this theme in Things Fall Apart   here .

Themes in Robert Frost's The Road Not Taken

Poem's have themes just as plot-driven narratives do. One theme that Robert Frost explores in this famous poem,  The Road Not Taken ,  is the illusory nature of free will .

• The poem's speaker stands at a fork in the road, in a "yellow wood."
• He (or she) looks down one path as far as possible, then takes the other, which seems less worn.
• The speaker then admits that the paths are about equally worn—there's really no way to tell the difference—and that a layer of leaves covers both of the paths, indicating that neither has been traveled recently.
• After taking the second path, the speaker finds comfort in the idea of taking the first path sometime in the future, but acknowledges that he or she is unlikely to ever return to that particular fork in the woods.
• The speaker imagines how, "with a sigh" she will tell someone in the future, "I took the road less travelled—and that has made all the difference."
• By wryly predicting his or her own need to romanticize, and retroactively justify, the chosen path, the speaker injects the poem with an unmistakeable hint of irony .
• The speaker's journey is a symbol for life, and the two paths symbolize different life paths, with the road "less-travelled" representing the path of an individualist or lone-wolf. The fork where the two roads diverge represents an important life choice. The road "not taken" represents the life path that the speaker would have pursued had he or she had made different choices.

Frost's speaker has reached a fork in the road, which—according to the symbolic language of the poem—means that he or she must make an important life decision. However, the speaker doesn't really know anything about the choice at hand: the paths appear to be the same from the speaker's vantage point, and there's no way he or she can know where the path will lead in the long term. By showing that the only truly informed choice the speaker makes is how he or she explains their decision after they have already made it , Frost suggests that although we pretend to make our own choices, our lives are actually governed by chance.

What's the Function of Theme in Literature?

Themes are a huge part of what readers ultimately take away from a work of literature when they're done reading it. They're the universal lessons and ideas that we draw from our experiences of works of art: in other words, they're part of the whole reason anyone would want to pick up a book in the first place!

It would be difficult to write any sort of narrative that did not include any kind of theme. The narrative itself would have to be almost completely incoherent in order to seem theme-less, and even then readers would discern a theme about incoherence and meaninglessness. So themes are in that sense an intrinsic part of nearly all writing. At the same time, the themes that a writer is interested in exploring will significantly impact nearly all aspects of how a writer chooses to write a text. Some writers might know the themes they want to explore from the beginning of their writing process, and proceed from there. Others might have only a glimmer of an idea, or have new ideas as they write, and so the themes they address might shift and change as they write. In either case, though, the writer's ideas about his or her themes will influence how they write. 

One additional key detail about themes and how they work is that the process of identifying and interpreting them is often very personal and subjective. The subjective experience that readers bring to interpreting a work's themes is part of what makes literature so powerful: reading a book isn't simply a one-directional experience, in which the writer imparts their thoughts on life to the reader, already distilled into clear thematic statements. Rather, the process of reading and interpreting a work to discover its themes is an exchange in which readers parse the text to tease out the themes they find most relevant to their personal experience and interests.

Other Helpful Theme Resources

• The Wikipedia Page on Theme: An in-depth explanation of theme that also breaks down the difference between thematic concepts and thematic statements.
• The Dictionary Definition of Theme: A basic definition and etymology of the term.
• In this instructional video , a teacher explains her process for helping students identify themes.

• PDFs for all 136 Lit Terms we cover
• Downloads of 1972 LitCharts Lit Guides
• Teacher Editions for every Lit Guide
• Explanations and citation info for 41,593 quotes across 1972 books
• Downloadable (PDF) line-by-line translations of every Shakespeare play
• Juxtaposition
• Verbal Irony
• Colloquialism
• Understatement
• Protagonist
• Anthropomorphism
• Parallelism
• Epanalepsis
• Rhetorical Question
• Characterization
• End-Stopped Line
• Anadiplosis

Literary Devices

Literary devices, terms, and elements, definition of essay, common examples of essay, significance of essay in literature.

Many famous writers and thinkers have also written numerous examples of essays. For instance, the treatises of the philosophers Plutarch, Cicero, and Seneca are all early forms of essay writing. Essay writing might seem dull to school children, but in fact the form has become extremely popular, often converging with a type of writing called “creative non-fiction.” Authors are able to explore complex concepts through anecdote, evidence, and exploration. An author may want to persuade his or her audience to accept a central idea, or simply describe what he or she has experienced. Below you will find examples of essays from famous writers.

Examples of Essay in Literature

Trust thyself: every heart vibrates to that iron string. Accept the place the divine providence has found for you, the society of your contemporaries, the connection of events. Great men have always done so, and confided themselves childlike to the genius of their age, betraying their perception that the absolutely trustworthy was seated at their heart, working through their hands, predominating in all their being. And we are now men, and must accept in the highest mind the same transcendent destiny; and not minors and invalids in a protected corner, not cowards fleeing before a revolution, but guides, redeemers, and benefactors, obeying the Almighty effort, and advancing on Chaos and the Dark.

Ralph Waldo Emerson was an essayist and poet who was a part of the Transcendentalist movement and who believed strongly in the importance of individualism and self-reliance. The above essay example, in fact, is titled “Self-Reliance,” and encourages human beings to trust themselves and strike out on their own.

Yet, because he was so small, and so simple a form of the energy that was rolling in at the open window and driving its way through so many narrow and intricate corridors in my own brain and in those of other human beings, there was something marvelous as well as pathetic about him. It was as if someone had taken a tiny bead of pure life and decking it as lightly as possible with down and feathers, had set it dancing and zig-zagging to show us the true nature of life. Thus displayed one could not get over the strangeness of it. One is apt to forget all about life, seeing it humped and bossed and garnished and cumbered so that it has to move with the greatest circumspection and dignity. Again, the thought of all that life might have been had he been born in any other shape caused one to view his simple activities with a kind of pity.

Virginia Woolf’s essay “The Death of the Moth” describes the simplest of experiences—her watching a moth die. And yet, due to her great descriptive powers, Woolf makes the experience seem nontrivial.

Here was I, the white man with his gun, standing in front of the unarmed native crowd — seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the ‘natives’, and so in every crisis he has got to do what the ‘natives’ expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing — no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

George Orwell’s marvelous essay “Shooting an Elephant” tells the story of when he was a police officer in Lower Burma and was asked to deal with an elephant wandering through a market. Orwell brilliantly extrapolates his role in shooting and killing the animal to the effects of Imperialism and the British Empire.

Not that it’s profound, but I’m struck, amid the pig’s screams and wheezes, by the fact that these agricultural pros do not see their stock as pets or friends. They are just in the agribusiness of weight and meat. They are unconnected, even at the fair’s self-consciously special occasion of connection. And why not?—even at the fair their products continue to drool and smell and scream, and the work goes on. I can imagine what they think of us, cooing at the swine: we fairgoers don’t have to deal with the business of breeding and feeding our meat; our meat simply materializes at the corn-dog stand, allowing us to separate our healthy appetites from fur and screams and rolling eyes. We tourists get to indulge our tender animal-rights feelings with our tummies full of bacon. I don’t know how keen these sullen farmers’ sense of irony is, but mine’s been honed East Coast keen, and I feel like a bit of an ass in the Swine Barn.

(“Ticket to the Fair” by David Foster Wallace)

Test Your Knowledge of Essay

2. Which of the following is not likely to be featured in an example of essay? A. A political opinion B. An anecdote C. A fable [spoiler title=”Answer to Question #2″] Answer: C is the correct answer.[/spoiler]

3. Which of the following statements is true? A. Essays are found in many intellectual magazines. B. Essays are only used in school settings. C. Essays are always boring. [spoiler title=”Answer to Question #3″] Answer: A is the correct answer.[/spoiler]

Definition Essay

Definition of definition essay, writing an effective thesis statement for a definition essay, difference between a definition and a definition essay, examples of definition essays in literature, example #1:  an argument against happiness (by marc gellman for newsweek ).

“Why is it that bad people can be happy? The reason is that happiness as defined by our culture has become just a synonym for pleasure, and anyone can feel pleasure. A good meal, a winning team, a fabulous vacation can make even the biggest criminal feel just as happy as the most noble hero . The problem is the linkage between happiness and pleasure. Feeling good has no natural connection to doing good. But it does in the teachings of Hinduism, Buddhism, Sikhism, Judaism, Christianity and Islam, as well as in the good and decent lives of those who do not find their life’s guidance from ancient-wisdom traditions. For all these people, happiness is linked to goodness, not pleasure.”

Example #2: Beliefs about Families (by Mary Pipher)

“Families are the people for whom it matters if you have a cold, are feuding with your mate or training a new puppy. Family members use magnets to fasten newspaper clippings about your bowling team on the refrigerator door. They save your drawings and homemade pottery. They like to hear stories about when you were young. They’ll help you can tomatoes or change the oil in your car. They’re the people who will come visit you in the hospital, will talk to you when you call with ‘a dark night of the soul’ and will loan you money to pay the rent if you lose your job. Whether or not, they are biologically related to each other, the people who do these things are family.”

Example #3: The Barrio (by Robert Ramirez)

“The barrio is closeness. From the family living unit, familial relationships stretch out to immediate neighbors, down the block, around the corner, and to all parts of barrio. The feeling of family, rare and treasurable sentiment, pervades and accounts for the inability of the people to leave. The barrio is this attitude manifested on the countenances of the people, on the faces of their homes, and in the gaiety of their gardens.”

Function of Definition Essay

Related posts:, post navigation.

• More from M-W
• To save this word, you'll need to log in. Log In

Definition of essay

 (Entry 1 of 2)

Definition of essay  (Entry 2 of 2)

transitive verb

• composition

attempt , try , endeavor , essay , strive mean to make an effort to accomplish an end.

attempt stresses the initiation or beginning of an effort.

try is often close to attempt but may stress effort or experiment made in the hope of testing or proving something.

endeavor heightens the implications of exertion and difficulty.

essay implies difficulty but also suggests tentative trying or experimenting.

strive implies great exertion against great difficulty and specifically suggests persistent effort.

Examples of essay in a Sentence

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'essay.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

Middle French essai , ultimately from Late Latin exagium act of weighing, from Latin ex- + agere to drive — more at agent

14th century, in the meaning defined at sense 4

14th century, in the meaning defined at sense 2

Phrases Containing essay

• essay question
• photo - essay

Articles Related to essay

To 'Essay' or 'Assay'?

You'll know the difference if you give it the old college essay

Dictionary Entries Near essay

Cite this entry.

“Essay.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/essay. Accessed 4 Aug. 2024.

Kids Definition

Kids definition of essay.

Kids Definition of essay  (Entry 2 of 2)

More from Merriam-Webster on essay

Nglish: Translation of essay for Spanish Speakers

Britannica English: Translation of essay for Arabic Speakers

Britannica.com: Encyclopedia article about essay

Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free!

Can you solve 4 words at once?

Word of the day.

See Definitions and Examples »

Get Word of the Day daily email!

Popular in Grammar & Usage

Plural and possessive names: a guide, your vs. you're: how to use them correctly, every letter is silent, sometimes: a-z list of examples, more commonly mispronounced words, how to use em dashes (—), en dashes (–) , and hyphens (-), popular in wordplay, 8 words for lesser-known musical instruments, it's a scorcher words for the summer heat, 7 shakespearean insults to make life more interesting, birds say the darndest things, 10 words from taylor swift songs (merriam's version), games & quizzes.

Home > Blog > What Is a Literary Analysis? A Comprehensive Guide

What Is a Literary Analysis? A Comprehensive Guide

• Smodin Editorial Team
• Published: July 29, 2024
• All About Content and Writing

If you study literature, you know that it’s a window into the human experience as it explores narratives and characters. So, you may be wondering, “What is a literary analysis?” and how you can compile one.

A literary analysis essay helps you to closely examine and interpret certain elements within a piece of writing to uncover its deeper meanings. It goes beyond mere storytelling. It’s about delving into the complexities of language and symbolism that authors use to convey their messages.

In this article, we’re covering everything you need to know before you start writing your literary analysis. Let’s dive right in!

Define Literary Analysis: What Does It Involve?

Has someone ever asked you to define literary analysis and you were not quite sure what to say? Well, at its core, a literary analysis involves a critical evaluation of a piece of literature. It involves examining how an author uses literary devices. Writers use these devices to craft a story that resonates with readers.

When you carry out a literary analysis, you dissect all the key components of a text. This includes elements like:

• Point of view

As you explore these points, you aim to unravel all the layers of meaning embedded within the text.

A literary analysis is an important essay writing skill to master.

Formal Literary Analysis

A formal literary analysis is a more structured way to examine a piece of literature. It takes a more methodical approach that goes into far more detail. All this requires a deep understanding of literary conventions and theories. You might carry out a formal literary analysis paper at college or university. It showcases your knowledge of a literary work that you may have studied over the semester.

You’ll likely need to uncover hidden themes and cultural contexts. All this helps you understand why the author wrote the work in the first place. As well as analyzing themes, you could carry out literary criticism, too. This helps to show that you understand various literary elements.

Thesis Statement in a Literary Analysis

A thesis statement in a literary analysis is central. It’s a concise overview of the main argument or interpretation of the text. The thesis sets the direction for the analysis. It guides readers and leads them through the key insights and observations in your essay. Think of it like a roadmap. It ensures clarity and coherence in exploring the work’s themes and elements.

What Is the Purpose of a Literary Analysis Essay?

A literary analysis essay delves deep into the intricacies of a literary work. It aims to uncover its deeper meanings and significance. It goes beyond a surface-level reading. Instead, it explores how literary devices and narrative techniques add to the text’s impact.

So, if you’re wondering about what is the purpose of a literary analysis essay, below we include some of the factors writers consider when compiling this type of work.

1. Uncovering Deeper Meanings

At its core, a literary analysis essay seeks to reveal the underlying themes and messages embedded within a literary work. By looking at literary elements, like figurative language and narrative voice, you can see the author’s intentions. Your closing statement should outline the text’s broader implications.

2. Evaluating Key Literary Techniques

These types of essays evaluate how authors use literary techniques. They also look at the structural elements that shape their narratives. This includes examining:

• Sentence structure
• Narrative flow
• The use of symbolism

All this conveys complex ideas and evokes emotional responses from readers.

3. Understanding Historical and Cultural Contexts

Understanding the historical context of a literary work is crucial for a comprehensive analysis. Situate the text within its time and culture, so you won’t be considered an unreliable narrator. Then, you can see how norms and ideologies influence the story.

4. Developing Your Critical Thinking Skills

Analyzing literature sources hones critical thinking. It does this by asking readers to question assumptions. They should analyze evidence and form reasoned interpretations. This process fosters a deep love for literature. It builds analytical skills useful in all fields and will help you learn how to write more enhanced sentences in your essays, too.

5. Providing Different Perspectives

A good literary analysis essay gives readers new perspectives. It interprets familiar texts. It challenges readers. It asks them to rethink the story’s main characters and plot. This often prompts a reevaluation of your own personal interpretations.

6. Crafting a Strong Thesis Statement and Supporting Evidence

Central to a successful literary analysis essay is a strong thesis statement. This needs to articulate the main interpretation of the text. Your thesis guides the analysis. It ensures each body paragraph focuses on supporting points. This works to bolster the overall argument and analysis.

7. Using Textual Evidence To Support Your Arguments

Throughout the essay, analysts use textual evidence. This evidence includes relevant quotes and specific examples from the text. They use it to back up their interpretations. All the evidence serves as a building block in constructing a coherent analysis grounded in the text’s language.

8. Structuring Your Body Paragraphs

Body paragraphs in a literary analysis essay have careful structure. They aim to develop and support the thesis. Each paragraph begins with a clear topic sentence that previews the main point. Then, it includes textual evidence that unpacks the significance of this evidence in relation to your thesis.

9. Concluding With Key Insights

A well-crafted conclusion provides a summary of the main arguments and insights in your analysis. It offers a final reflection on the significance of the text and its enduring relevance. Your final point leaves readers with a deeper appreciation for the literary work.

How Do You Do a Literary Analysis?

Doing a literary analysis requires a careful approach. You must untangle the complexities of a literary work. Analysts delve into specific literary elements and techniques. They use them to find the deeper meanings and themes that enrich the text.

So, if you want to go into the details of how do you do a literary analysis, check out our sections below.

Remember Your Literary Devices

At the heart of every literary analysis are the fundamental tools known as literary devices. These include:

These devices add layers of meaning, enabling you to decode the author’s intentions when you write a literary analysis. They help you uncover profound insights into the human experience and societal issues.

Consider the Author’s Style

Beyond the story, the author’s writing style is unique. It can be formal, colloquial, descriptive, or experimental. It affects the work’s impact. Understanding the author’s stylistic choices will improve your analysis. It will shed light on how language and structure relate to the themes and messages.

Explore Themes and Motifs

Finding themes and motifs in a literary work gives a framework. It helps for deeper study. These thematic threads should weave through the narrative. This offers more insights into the main ideas and underlying messages that resonate throughout the text. You can trace these themes across the storyline, revealing how they evolve.

Analyze Characterization and Development

Central to any literary analysis is the examination of character portrayal and development. Analysts scrutinize characters. They look at the traits, motivations, conflicts, and transformations. They do this to find their symbolic meaning and themes. Analyzing characters offers deep insights. It reveals the human condition and society in the text.

Evaluate Narrative Structure and Point of View

The narrative structure is the arrangement and sequence of events. It’s the chosen point of view that shapes readers’ perception and interpretation of the text.

Analyzing the structure shows how the narrative unfolds. It also shows how perspective influences reader engagement. It also shows how the structure relates to the author’s intended themes and the punchiness of the narrative.

Interpret Symbolism and Imagery

Symbols and imagery serve as powerful vehicles for conveying abstract ideas and emotions within a literary work. Interpreting these literary devices involves identifying symbolic representations and analyzing their contextual significance.

Symbols and imagery enrich the narrative. They offer a deeper meaning that goes beyond the literal story. Symbolism has a great impact on writers nowadays, which in turn, can affect how successful a writer can be with their readers.

Frequently Asked Questions

How do i choose a literary work to analyze.

Select a literary work that resonates with your interests, academic goals, or thematic preferences. Choose a text that is complex and deep. It should provide lots of material for deep analysis and interpretation.

What should you include in a literary analysis essay?

A literary analysis is not just a summary. It needs a clear thesis. The thesis states your main argument or interpretation. It should also include analysis supported by textual evidence. Make sure to include quotes and references from the text. Add a conclusion that synthesizes the findings and discusses the work’s broader implications.

How do I integrate quotes into my literary analysis?

Integrate quotes well. Embed them within your analysis and provide context. Explain their significance to support your arguments convincingly. Use quotes sparingly and ensure they contribute to the coherence and persuasiveness of your analysis.

How can a literary analysis enhance my understanding of a text?

A literary analysis essay helps you understand a text better. It does this by revealing its themes, symbols, and storytelling methods. It encourages you to engage critically with the text. This fosters a deeper appreciation for its art and culture.

What is the purpose of a literary analysis essay?

A literary analysis essay aims to examine a piece of literature closely and uncover its deeper meanings and themes.

Analyze elements like:

• Literary devices

This helps readers understand how the author uses these elements to convey their message or perspective. This type of essay encourages critical thinking. It helps readers appreciate the complexities of literary works beyond their surface meanings.

How do you structure a literary analysis essay?

Structuring a literary analysis essay involves organizing your analysis into clear sections. These sections should support your thesis. Start with an introduction. Introduce the literary work and state your thesis.

The body paragraphs should each focus on a different aspect of your analysis. Focus on specific literary devices, character development, or themes in each section. Use evidence from the text, such as quotes and examples, to support your points.

Get Help With Your Literary Analysis Using Smodin AI

Take your literary analysis to the next level with Smodin AI’s cutting-edge tools and resources. Use them to craft your thesis or unravel themes. Smodin AI can help you at every stage of your analysis.

Harness the power of AI-driven research and analysis to deepen your understanding of complex texts. Smodin AI assists in generating insightful thesis statements that serve as the backbone of your analysis. It helps to ensure clarity and focus from the outset.

Try Smodin AI today to help you explore and interpret the intricacies of a literary analysis.

Jump to navigation

Tawaifbaazi: Courtesans and Prostitutes in Urdu Hindi Literature

Call for Chapters

Tawaifbaazi : Courtesans and Prostitutes in Urdu Hindi Literature

Editor: Farkhanda Shahid Khan

Important Dates

September 05, 2024: Abstract Submission Deadline

September 19, 2024: Notification of Abstract Decision

November 25, 2024: Full Chapter Due

The intersection of literature and societal issues has long served as a platform for introspection, critique, and exploration. In Urdu Hindi literature, the portrayal of courtesans and prostitutes has been a source of both fascination and controversy, reflecting the intricate interplay of culture, ethics, and human existence. Ismat Chughtai, Sa‘adat Hasan Manto, Krishan Chander, Rajinder Singh Bedi, Agha Shorish Kashmiri, Munshi Premchand, and many other writers of Urdu and Hindi literature have intricately depicted the human experiences, societal norms, and individual choices through their literary works. This call invites scholars, researchers, and practitioners to contribute chapters to an edited collection that scrutinizes the depiction of courtesans and prostitutes in Urdu Hindi literature, exploring contemporary themes and critical perspectives.

This volume intends to make a substantial contribution to the academic field of gender studies, social discourse and South Asian literature.

Chapters are invited that explore, but are not limited to, the following themes:

• Historical Context and Evolution of Prostitution in Urdu Hindi Literature
• Courtesans as Patrons and Practitioners of Art Forms
• Transgressive Narratives in Urdu Hindi Literature
• Eroticism, Desire and Sensuality in representation of Prostitution
• Intersectionality, identity and Marginalization of Courtesans and Prostitutes
• Forbidden Love and Tragic Romance between Courtesans/Prostitutes and their Clients
• Global Perspectives on Courtesans and Prostitutes in Urdu Hindi Literature
• Agency and Voice of Courtesans and Prostitutes
• Feminist and Postcolonial Perspectives on Courtesans and Prostitutes in Urdu Hindi Literature
• Transnational prostitution as a form of Female Migration
• Feminist debates on Prostitution, Pornography and Women
• Health Humanities: Reproductive Health and Prostitution in Urdu Hindi Literature
• Social Commentary on Prostitution and Reforms  
• Courtesans, Prostitutes and International Human Rights
• Urban Spaces and Modernity Shaping Narratives on Courtesans and Prostitutes in Urdu Hindi Literature

 Kindly submit an abstract of 200-250 words accompanied by a brief author biography to  [email protected]  by September 05, 2024.

Submission guidelines will be provided upon acceptance of the abstract. Each submission will undergo a double blind peer-review process and the book will be published by a prestigious academic publisher in June 2025. For inquiries and further information, please contact us at  [email protected]

We look forward to engaging in a rich and thought-provoking dialogue on this significant yet understudied aspect of Urdu Hindi literature.

About the Editor

Farkhanda Shahid Khan is a feminist researcher, activist, and academic. She teaches contemporary English literature at Government College University Faisalabad. Khan works on Feminism, Marxism, Culture, and Gender & Sexuality with a focus on the Global South. Currently, she is a doctoral fellow in the School of Literatures, Languages & Cultures at the University of Edinburgh and her research delves into the red light districts and brothel quarters in India and Pakistan.