‘A READER LIVES A THOUSAND LIVES BEFORE HE DIES. THE MAN WHO NEVER READS LIVES ONLY ONE.’ GEORGE R.R. MARTIN
TRACKING: LITERATURE RESEARCH In this tracking literature is explored. You will learn: what literature is about; how literary communication works; why literary genres aren’t well defined; why adaptations bloom; what the future of literature will be like. The tracking also focuses on how to set up a research. You will learn how to: start off correctly; look for information; process information; present the result; deal with feedback.
CONTENTS 1
2
3
4
5
6
2
Reading matters
3
1.1 1.2 1.3
3 4 5
Tell me what you read Fiction versus non-fiction? What exactly is literature?
The essence of literary communication
7
2.1 2.2 2.3
The literary communication model Are you tuned in properly? Research competence: orienting yourself
7 7 10
2.3.1
Getting to know the field
10
2.3.2
Keeping a logbook
11
2.3.3
Defining the focus
11
2.3.4
Structuring the research
13
Poetry in the picture
14
3.1 3.2 3.3
Understanding poetry Old versus new, open versus closed Research competence: looking for information
14 16 19
3.3.1
Where do you start?
19
3.3.2
Searching the Internet
21
3.3.3
Visiting the library
21
3.3.4
Selecting sources
22
3.3.5
Making an annotated reference list
23
Decoding drama
25
4.1 4.2 4.3
What is drama? From text to performance Research competence: processing information
25 26 35
4.3.1
Note-taking
35
4.3.2
Paraphrasing
36
4.3.3
Quoting
36
4.3.4
Let’s try it out
37
Books are out, movies are in
39
5.1 5.2 5.3
Reader or viewer? When words become images Research competence: the final countdown
39 43 49
5.3.1
Revising
49
5.3.2
Proofreading
50
5.3.3
Presenting the research
50
5.3.4
Processing feedback
50
Research competence checklist
52
TRACKING: LITERATURE RESEARCH
1 ⁄ READING MATTERS 1.1 ⁄ TELL ME WHAT YOU READ SPOKEN INTERACTION
1 Fill in the questionnaire and afterwards compare it with your neighbour. a What do you read? posts on forums webpages newspapers magazines manuals comic strips
(auto)biographies poems novels plays other: (specify)
b Why do you read?
to keep up with current events to research topics of interest because you have to for work/school to escape from reality because you like reading to improve your language skills other: (specify)
c How do you choose what you read? personal taste the recommendation of peers the recommendation of an adult (parent, teacher …) an advertisement in the media other: (specify)
d What is your favourite genre? Why? e What are the advantages of reading (a lot)? Based on: www.surveymonkey.com
www.cartoonstock.com
TRACKING: LITERATURE RESEARCH
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2 The Frenchman, François Mauriac, once said: ‘ Tell me what you read and I’ll tell you who you are is true enough, but I’d know you better if you told me what you reread.’ a Do you agree with his statement? Why (not)? b Which book, play, poem, … have you reread? Why?
SPEAKING
3 Now report back to the class.
1.2 ⁄ FICTION VERSUS NON-FICTION? SPOKEN INTERACTION
1 Pair up and answer the following question. How would you define fiction/non-fiction?
www.cartoonstock.com
2 Discuss the following quotes. Do you agree? Why (not)? a ‘People have a habit of inventing fictions they will believe wholeheartedly in order to ignore the truth they cannot accept.’ Libba Bray, The Sweet Far Thing b ‘There is a difference between fiction and non-fiction deeper than technique or intention. I value both but genuinely believe that fiction can tell a larger truth.’ Dorothy L. Sayersthy Allison c ‘Imagination is more important than knowledge. For knowledge is limited to all we know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.’ Michael Scott, The Warlock
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TRACKING: LITERATURE RESEARCH
1.3 ⁄ WHAT EXACTLY IS LITERATURE? 1 How would you define literature?
READING
2 Read the text ‘Literary Fiction vs. Genre Fiction’. a Are the statements true or false? If true, underline in the text. If false, correct them. Statement
True False
1 Literary fiction is a collection of novels that don’t belong to the fiction genre.
2 Literature is ‘serious’, ‘pretentious’ and ‘boring’.
3 It is impossible to define what is good Literary or Genre Fiction and what isn’t.
4 G enre Fiction is a form of escapism, it makes you forget about everyday problems.
5 Literary Fiction provides a better means to understand the world and ourselves.
Literary Fiction vs. Genre Fiction by Steven Petite Fiction, of course, is a work that is imagined from the mind, a different world than reality. An argument can be made that there are two types of fiction when it comes to novels: Genre Fiction and Literary Fiction. The former includes many subcategories such as Mystery/Thriller, Horror, Romance, Western, Fantasy, Science Fiction, etc. The latter is more difficult to classify or break apart into subcategories. To put it simply, Literary Fiction is anything that does not fit into a genre. There are certainly highbrow literary readers who believe that genre fiction does not deserve any merit. Then there are the types who exclusively read one or two subtypes of genre fiction and automatically classify any ‘serious’ works of literature as pretentious or boring. While changing opinions on reading tastes is not easily controllable, the war between Literary Fiction and Genre Fiction is one that will probably continue for years to come. The main reason for a person to read Genre Fiction is for entertainment, for a riveting story, an escape from reality. Literary Fiction separates itself from Genre because it is not about escaping from reality, instead, it provides a means to better understand the world and delivers real emotional responses. All of the most prestigious awards for fiction each year are given to works of Literary Fiction, which makes it sometimes easy to say that writers who write literary sorts of books are better writers.
TRACKING: LITERATURE RESEARCH
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In reality, neither of the two categories of writers necessarily deserve the distinction of being better writers. Different writers is a better word choice. Yes, across the bestseller lists there are novels that contain poor writing, and those lists are normally dominated by Genre Fiction. That does not mean that all Genre Fiction writers cannot form competent and engaging prose. The works of Stephen King, Thomas Harris, Michael Crichton, Neil Gaiman, George R.R. Martin, and many others are written with great prose that shows a sound grasp on the written word. Do these types of writers sweep a reader down into their fictionalized world? Yes. But do they provide a means to stay inside reality, through the trials and tribulations of everyday life, and deliver a memorable experience that will stick with you emotionally for the rest of your life? In my opinion, no. The works that are well written by genre writers are the ones that provide the best form of entertainment and escapism that fiction has to offer. On the other hand, works by writers such as David Foster Wallace, Jonathan Franzen, Haruki Murakami, Cormac McCarthy, Zadie Smith, Don DeLillo, a multitude of other modern day writers, and all of the twentieth century giants such as Hemingway, Fitzgerald, Faulkner, and Joyce, touch the reader in a different way. There is a sense of accomplishment and fulfillment from finishing a ‘serious’ book and the most important aspect in determining if the novel was indeed a remarkable escape not from reality, but into reality, is if a reader reflects on the words after the last page is turned. With really great pieces of Literary Fiction, this reflection can last for days, weeks, months, even years, until the novel pulls you back in to experience the magic all over again. In essence, the best Genre Fiction contains great writing, with the goal of telling a captivating story to escape from reality. Literary Fiction is comprised of the heart and soul of a writer’s being, and is experienced as an emotional journey through the symphony of words, leading to a stronger grasp of the universe and of ourselves. Source: www.huffingtonpost.com
b Tell if you mostly read Literary Fiction or Genre Fiction. Explain your answer and refer back to 1.1. SPEAKING 3 Is literature functional?
listening
a Watch the clip What is literature for? and make a summary on an extra sheet of paper. b Do you think the speaker has a point? Do you agree with his arguments or do you want to counter argue? Explain.
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TRACKING: LITERATURE RESEARCH
WRITING
2 ⁄ THE ESSENCE OF LITERARY COMMUNICATION 2.1 ⁄ THE LITERARY COMMUNICATION MODEL Literary texts can be seen as potential messages between a sender (author) and a receiver (reader) who are separated from one another in space and time. When writing, the author may have had a type of reader in mind, but this is not necessarily the actual reader. Only by reading a literary text, do the letters get a meaning and become a real message. This message can be presented to the reader in quite a number of forms: novel, short story, theatre play, poem, etc. In order to grasp the meaning, the receiver should be able to crack the linguistic and literary code for that particular genre. Writing and reading literary texts doesn’t happen in a vacuum. Author and reader are influenced by the socio-cultural context they lived/live in. That’s why literary products that are highly valued in one era, may be neglected in the next and vice versa. Based on: www2.anglistik.uni-freiburg.de
2.2 ⁄ ARE YOU TUNED IN PROPERLY? 1 Watch the clip Language, voice and Holden Caulfield to get a first impression of The Catcher in listening the Rye by J.D. Salinger and answer the questions. a What is typical of the artistic landscape nowadays according to John Green? b How do we see books according to Green?
J.D. Salinger
c Which mistakes do we often make when we criticise literature?
TRACKING: LITERATURE RESEARCH
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2 Read the introduction and the extract taken from the first chapter of The Catcher in the Rye and analyse the communication situation. Complete the scheme. For some answers you will have to go online. Literary genres & communication model
Prose the Catcher in the Rye – J. D. Salinger
SENDER • Who is telling the story? • What do we know about him? • Does an I-narrator imply it is an autobiographical novel?
RECEIVER • Who is the addressee? • What is rather exceptional here?
MESSAGE • What is the theme of the extract?
CONTEXT • When/where did the author live? CONTACT • When/where did this work of literature attract your attention for the first time? CODE • Which linguistic and literary elements are typical of that genre, period? • Do you still appreciate such texts nowadays? Why (not)?
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TRACKING: LITERATURE RESEARCH
READING
3 Which three elements would you certainly discuss a bit more thoroughly because they are important for this novel?
THE CATCHER IN THE RYE
Holden’s story begins at Pencey Prep on the day of the big football game. Instead of going to the game, Holden, who has just been expelled for failing four of his five classes, visits Mr. Spencer, his history teacher. Mr. Spencer lectures Holden about playing by the rules and thinking about his future. Holden pretends to agree with what he hears, but actually thinks Mr. Spencer is a ‘phony.’
Source: www.litcharts.com
‘If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it. In the first place, that stuff bores me, and in the second place, my parents would have about two haemorrhages apiece if I told anything pretty personal about them. They’re quite touchy about anything like that, especially my father. They’re nice and all - I’m not saying that - but they’re also touchy as hell. Besides, I’m not going to tell you my whole goddam autobiography or anything. I’ll just tell you about this madman stuff that happened to me around last Christmas before I got pretty run-down and had to come out here and take it easy. I mean that’s all I told D.B. about, and he’s my brother and all. […] Where I want to start telling is the day I left Pencey Prep. Pencey Prep is this school that’s in Agerstown, Pennsylvania.’ (p. 5) ‘The other reason I wasn’t down at the game was because I was on my way to say good-bye to old Spencer, my history teacher. He had the grippe and all, and I figured I probably wouldn’t see him again till Christmas vacation started. He wrote me this note saying he wanted to see me before I went home. He knew I wasn’t coming back to Pencey. I forgot to tell you about that. They kicked me out. I wasn’t supposed to come back after Christmas vacation, on account of I was flunking four subjects and not applying myself and all. They gave me frequent warning to start applying myself – especially around mid-terms, when my parents came up for a conference with old Thurmer – but I didn’t do it. So I got the axe. They give guys the axe quite frequently at Pency. It has a very good academic rating, Pencey. It really does.’ […] ‘Holden!’ Mrs Spencer said. ‘How lovely to see you! Come in, dear! Are you frozen to death?’ I think she was glad to see me. She liked me. At least, I think she did. (p. 7-9) Source: J.D. Salinger, The Catcher in the Rye
4 Go to diddit for exercises on the communication situation in poetry and drama.
TRACKING: LITERATURE RESEARCH
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2.3 ⁄ RESEARCH COMPETENCE: ORIENTING YOURSELF
STRATEGY How to start a research? The first thing you have to do when starting a research project is to orient yourself. Orienting yourself means exploring and questioning the field of study, so that ultimately you can formulate a good research question/statement. You can explore a subject intuitively or you can opt for a more logical approach. - In the first case you start off with a brainstorming session in which you note down all possible words that cross your mind when you think of your topic. Afterwards you try to visualise relationships by creating a mind map. - In the second case you start browsing the library/Internet (general or specialised encyclopaedias, databases, web indexes). They give you a brief overview of your topic and provide a number of appropriate research terms. Once you have explored the subject, you have to question the research field and decide what is worth examining. A critical look will help you to find an information need: a problem that needs some attention, a comparison that is useful.
2.3.1 ⁄ GETTING TO KNOW THE FIELD 1 Exploring a subject a You have to explore the subject ‘romanticism’ for your research paper. How would you start off: - intuitively (brainstorming, mind mapping), or - logically (looking up in dictionaries, encyclopaedias)? Why would you choose this option? b If you choose the logical approach, select sources that give you a clear summary of the field. Go to diddit and look at what we found. Read and decide which aspect is worth researching.
READING
SPOKEN INTERACTION
2 Questioning the subject Choose a problem/aspect that interests you and needs some attention because: - the literary or linguistic insights have changed; - the cultural impact has become important; - a particular aspect has never been dealt with thoroughly. You can also decide to compare things: - to draw some conclusions about the past/present; - to explore future possibilities. The question you should keep in mind is: ‘Why is the problem/aspect worth studying?’ Check your choice: is the problem/aspect you have chosen in the previous question a good one when you apply these criteria? Why (not)? Ask your neighbour for some feedback. 10
TRACKING: LITERATURE RESEARCH
2.3.2 ⁄ KEEPING A LOGBOOK To plan and follow up a research, you need a logbook. A logbook is a report of important steps in a process. It is wise to keep a logbook from the start of the research process because it protects you in two ways: it works like a manual and directs you from one phase to the next, AND it helps with time management. You can add a third layer of protection by asking your mentor to give feedback after each major phase in the research process.
STRATEGY Planning the research Before you formulate a research hypothesis and start looking for information, it is important to know exactly what is expected of you, when and how you have to present the result. Only then you can plan. To work out your time schedule, work backwards from the date you have to hand in/present your research. When planning, take examinations, school trips and other important events into account. Go to diddit and start your logbook. 2.3.3 ⁄ DEFINING THE FOCUS
STRATEGY Formulating a research hypothesis The success of your research largely depends on the research topic. If the research topic is given, you have to analyse it thoroughly. It provides the keywords you can use to start your research. If it isn’t, choose a topic that interests you and that you are acquainted with to some extent. The next thing you have to do is limit your topic. Formulate a hypothesis in the form of a statement or question that sets boundaries. When formulating a research question/statement, take the following elements into consideration: Quality of the research question/statement checklist
✓
1 Does the subject interest you? 2 Can you express an opinion on the subject? 3 Is the aim realistic? a Can the subject/aspect be researched; is the answer still open? b Is the statement/question concrete, not too broad (general or complex) or narrow (specific)? Can you draw interesting conclusions? c Can you easily find the sources you need (newspapers, magazines, books, Internet sources, documents, people)? d Is processing the amount of information you need realistic within the given time period? 1 Evaluate these topics. Determine if they are excellent (E), acceptable (A) or not suited (N). Explain your choice to your neighbour. 1 What are the typical characteristics of the drama of the absurd?
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2 Is it better to promote Young Adult novels or classic literature (the canon) in the 3rd grade? 3 Colour as a metaphor for emotions in literary texts.
4 Will the trade paperback vanish in the Internet age? 5 What is the difference between impressionism in paintings and in poems? 6 How did Ang Lee adapt Yann Martel’s novel Life of Pi (2001) for the screen (2012)?
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TRACKING: LITERATURE RESEARCH
2 Let’s try! Suppose the research topic is ‘romanticism’. It is too broad a subject to research; you have to rephrase it so that it becomes a ‘testable’ hypothesis. How would you formulate a possible research hypothesis (question/statement) on this subject? Write down two suggestions and ask your neighbour to give feedback.
2.3.4 ⁄ STRUCTURING THE RESEARCH
STRATEGY How to frame your research? Once you have chosen a research hypothesis (question/statement), it is wise to think of a way to structure your research. You know what you want to examine, explain, prove, reject, compare … Now it is time to think how you want to proceed: which data you have to collect and analyse.
Roughly speaking there are two possibilities. 1 The analytical research usually starts with a question to which the researcher tries to find an answer. It is the purpose of the researcher to explore the subject from different angles (not only the traditional one) and do a critical analysis. Each sub question should add something to the answer of the main question. The conclusion should refer back to the initial question and preferably answer it. Main question Is Bernard Mac Laverty ’s Cal a political thriller? Sub question 1 What is a political thriller? Sub question 2 Does the author sketch a good picture of the Irish Troubles? – What is the problem? – Who (which persons, parties) is (are) involved? – Which strategies do they use to defend their conviction? Sub question 3 Which role do the political and religious symbols play? Conclusion To a certain extend Cal is … but …
TRACKING: LITERATURE RESEARCH
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