UNIT 1

What is literature? The literary language. Functions of literature. Genres and

literary subgenres.

WHAT IS LITERATURE?
When we tackle this simple question to understand the object of our study, we
we encountered the difficulty of clarifying its definition. Let's start with its etymology and the
semantic evolution that the word literature has undergone to understand the complexity of
the problematical issue:
The word 'literature' is a derivative of the Latin term 'literatura' which in turn derives from
from the Greek gramaticus. It means in Latin instruction, knowledge related to the art of
writing or reading and also grammar, alphabet, scholarship.
From Latin, it derived to the European languages with very similar forms (Spanish: literature,
literature
This concept extends until the 18th century, with all its nuances and interpretations.
But in the second half of the 18th century, a profound semantic evolution occurs.
from the word literature, since instead of defining the knowledge or the culture of man from
letters, the word comes to designate a specific activity and the resulting production.
Yes, we are already talking about the literary work. But this evolution continues until
to come to designate with the term literature, the set of literary works of a country
(that is why the adjective 'Spanish', 'French', etc. is added)
By the end of the century, constant evolution ultimately designates the term literature the
literary phenomenon in itself and not as that of a particular country. Therefore, we can already talk about
literature co-creating aesthetics. This new alternative forever separates literature from the
scientific writings, which were included in the ancient sense, since the generalized term,
it covered everything that was written.
In the following centuries, the meanings were changing rapidly, showing different
approaches to the problem, we will try to summarize it briefly:
Literary production of an era (Literature of the 16th century, 17th century, etc.).
2.Works that are generalized by some of their aspects (female literature, horror,
of science fiction, etc.).
3. Existing bibliography on a specific topic (Literature on Re-
birth...)
4. Pejorative sense of the term (Used as derogatory, for example, to refer to someone who
talks a lot without saying anything, it is often expressed as 'that one is just being …')
5. Literature is discussed to define the history of literature or a manual of literature.

This journey through the evolution of the word literature reveals how difficult it is.
define it. But since we are going to work with it, we will only propose to approach it.
as an aesthetic activity, and consequently, also encompassing its production, the works
literary.
The definition proposed by Fidelino de Figueiredo specifies the synthesis:

Literature is creation through suggestive word, of a suprareality (or reality

apparent), built with the deep and unique data coming from intuition and
the experiences of the creator, elaborated through a technique, expressed with strength
expressive.
"Latest Adventures", p. 208-214 Rio de Janeiro, 1941

THE LITERARY LANGUAGE

Language is the material of literature, but since it is not made of inert material,
but it is a human creation, we must distinguish and establish criteria that differentiate the
everyday language and scientific language of literary language.
The problem arises because literature uses the word as an expressive medium...
So, we must analyze what changes occur in 'those words' to become
poetics.
In principle, the poetic function of language, according to Román Jakobson, creates its own
fictional universe, meaning it is not determined by real references (although there are always some)
connections with that real world). Literature needs to be plausible (believable) and not true,
as it happens to history.
The literary language is semantically autonomous, because it has enough power to
organize and create entire expressive worlds.
Another feature of literary language is that it is connotative (it carries implied meanings).
messages that are added to basic communication); unlike language, science, of
law, etc. which is denotative (neutral and depersonalized). But this phenomenon of the
Connotation is not only exclusive to literature, which is why we can add another term.
comprehensive, and to say that literary language is plurivalent, since the linguistic sign possesses
multiple semantic dimensions and transcends the literal meaning of the word.
The polysemy of language manifests itself on two levels: a vertical level or
diachronic and a horizontal synchronic plane.
In the foreground, the word takes on all the meanings attributed to its historical life.
from the word, which defines it in a tradition.
In the synchronic plane, the word acquires multiple meanings due to the relationships (conceptual,
rhythmic, etc.) that that word maintains with the rest of the words within the context (in a
here, now.
Let’s illustrate with the well-known poem of the rose that Federico García Lorca wrote.
for her play 'Doña Rosita la soltera': here the rose symbolizes the woman who evolves
in life just like the flower, from a small bud until it wilts and sheds its petals
(Synchronical plan). However, we cannot overlook all the tradition that the concept of rose.
encloses: flower that is distinguished by its beauty, softness, fragrance, and color. (Diachronic plan).
It alludes to all feminine attributes and both aspects contribute to the polysemy of
the word.
Another difference between everyday language and literary language is that the former is predictable.
routine, while the poetic word tries to explore the word, liberating it from its meanings
daily, to make it original and unpredictable, for this purpose, it uses stylistic figures (such as the
metaphor, the symbol, the images, the repetitions, the parallels, etc.) to enrich the
conditions of language.
And when we refer to the word, we must remember the linguistic designation definition.
appeared above), according to Ferdinand de Saussure, sentences and discourses are constructed
combining linguistic signs. A word, or a group of words constitute a sign
linguistic. This is made up of a meaning (points to what it represents) and by a
significant (physical reality, sound of the word) that points to a referent.
In everyday or scientific language, the signifier has little or no importance, and
the emphasis is placed on meaning. In contrast, in literary language, linguistic signs are
both nourish, since the signifiers enrich the text from the sound, from the rhythmic,
it is what allows literature to get closer to music.
Yes, here where a new discussion is raised that has to do with the ararbitrariness
(or no) of the linguistic sign.
Saussure expresses the arbitrary nature of the sign (between the signified and the signifier
there is no intrinsic relationship), therefore the sign is conventional.
For example, if we name "hand", there is no apparent reason that connects these sounds to
its meaning, and the proof of this would be that translated into English we say 'hand' and it does not change its
meaning.
However, Dámaso Alonso, while agreeing with these concepts, clarifies that in the
 poetic language/'there is always a connection between signifier and signified' that can
to be present for the expressive value of a syllable, a word, etc.
IN SUMMARY: literary works use language in its poetic function. This language
is characterized by being connotative, polysemous, creative, unpredictable, adopts its own
fictional universe, is plausible. It possesses intentions and aesthetic qualities. Are excluded
from literature, scientific, legal, historical, philosophical works, etc.

FUNCTIONS OF LITERATURE
Once the nature of literature has been investigated, it is worth asking about the
functions or purposes that she has.
This question has received many different answers throughout various times and cultures.
that take into account different aspects of the literary phenomenon. Let's summarize and interpret the
more significant:

A. LITERATURE AS SYNFRONISM:
Sinfronismo: spiritual coincidence, between the man of an era and those of all eras, of
the next ones and the dispersed in time and space. This theory attempts to subtract from the
literary work of its space and its time to confront it with readers of any era and
place.
On this aspect, Fernán Pérez de Oliva, in his work 'Dialogue on the Dignity of Man,'
The great mystery of Letters gives us the ability to speak with the absent and to listen.
now to the wise ancestors the things they said. The Letters keep our memory, they
they preserve the sciences and, what is more admirable, they extend our lives for long centuries, for
we know all the past times, which living is nothing but feeling them

B. LITERATURE AS COMMITMENT:
Although Jean-Paul Sartre does not deny the synchronic function of literature, he adds to the concept
Before the idea "every author is immersed in their time and can only write for it."
writer speaks to his contemporaries, to his countrymen, to his brothers of race or class.
This temporal coincidence (author-reader) is what makes it differ from the synchronic, which is
timeless. The idea of committed literature operates on the message and the second concept
it points more to a disinterested and pure enjoyment.
This French author poses three questions in his book "What is Literature?": What is
to write?, why write?, for what to write?.
Regarding the first question, it will say that writing is an option to reveal to the world and to others.
men, so that they before the object laid bare like this, assume all their
responsibilities.
In the second question, it will be answered "is there in man an awareness of being the revealer of the
"world" (not its creator), that is, man has awareness of "being able to see" and "to understand" and
emphasize
creator act, it is supposed to correspond to another moment for the reader, which will also be a
"revealer" in front of the work.
The writer has the commitment, according to Sartre, to 'reveal', but also to investigate 'for whom'.
write
And this brings us to the third question: he writes for his contemporaries, his brothers of race or
class.
C) LITERATURE AS ESCAPE:
Almost like an antagonistic theory to the previous one, where the writer felt a deep commitment to
in its time, literature as escapism presents the literary phenomenon as refuge, an escape from the
surrounding reality.
The reasons that lead a writer to escape can be numerous: personal, social,
policies, to flee from vulgarity, etc. Let's exemplify different ways of escapism:
Transforming literature into a tyrannical, absorbing activity, a fanatical cult of art where the
writer forgets the world and real life.
Escaping in time: The poet seeks moments, remote, beautiful, and grand eras where
forget the disillusionments that the present brings.
Escape in space: The poet seeks exotic places, far from his everyday customs.
In this type of evasion, a recurring theme is the journey, which in one way or another is a search.
and a distancing.
Childhood is another figurative place of escape. The time passed and now revived through
memory is presented as a sweet moment, good, where we should not face the
adult disillusionments and worries.
The creation of the character is another escapism procedure, as the writer shapes
his character with the desires and characteristics that he would have wanted to possess, or makes him live.
experiences or adventures he would wish for himself.
Let's also remember that the reader can turn to literature as an escape, since the
personal frustrations, or boredom, or the lack of personal projects can make it happen
to be fascinated by the lives of heroes and to live these stories as if he himself were the protagonist.
LITERATURE AS A GAME:
If we ask ourselves what the purpose of play is, we can think of multiple functions, for
example:
To release excess vital energy
As an innocent deviation from dangerous instincts, 5) To satisfy unrealistic desires
through a fiction 6) As self-confirmation of personality.
You will notice that all these concepts are also valid for literature. When we refer to
Regarding the playful function of literature, we must be clear about two approaches to this issue:
Art has been interpreted as "the play of the spirit" although in reality it is a
activity more complex than the game. It is true that in both cases one experiences the
joy of creation, but the creation of the game is momentary, while that of art
aspires to remain.
Literature that considers itself a game: It is a spiritual game, in it the
things have a different appearance than "in real life". The poet plays in the same way as
make the child. Both use symbols. When the child plays with a broom and
climbs on her as if she were a horse, discriminates reality from fantasy and if she
we ask you not to hesitate to tell us that what you have in your hands is a broom,
but he turns into a horse within his fictional universe. Similarly, the poet
play with words, using them in their capacity as symbols and forming with them
his poetic universe. Both adhere to the rules of the game and with deep seriousness;
the poet creates an art and the child, a game.

E) LITERATURE AS CATHARSIS:
This concept appears with Aristotle; in his work 'Poetics' he explains that the proper function of the
literature is pure and lofty pleasure.
In the Aristotelian definition of tragedy it is said: 'Tragedy is an imitation of an action'
elevated and complete, endowed with extension, with a tempered language, with different forms in
each part, which relies on action rather than narration, and which, through compassion and the
terror produces the purification of such passions.
Aristotle takes the term catharsis from medical language, which designates a purifying process.
that cleans the body of harmful elements, but uses it in the broad sense of 'purifier'.
of a psycho-intellectual nature." Assisting in the fictional pain of another leads us to unleash passions to
through two feelings: compassion and terror.
If we remember the plot of the tragedy 'Oedipus Rex' by Sophocles, where Oedipus, in fleeing from
their destiny, is dangerously closer to its fulfillment (kills their father and is
house with her mother), we will easily notice the feelings of compassion and terror that arise
in the spectator: compassion, because Oedipus is not guilty of his drama and terror, because, thus
as he fights against his fate in vain, we can be in the same way
fighting against the fatality of an adverse destiny, unknowingly.
Over time, the sense of catharsis extended to all literary expression,
interpreting literature as a form of liberation and purification of feelings
painful and negative, like a search for peace and harmony, both for the writer and for the
reader.
Finally, it is important not to confuse catharsis with evasion (which is escape and forgetfulness,
attempt to evade problems); catharsis is not detached from the deep responsibility it has
the man before his destiny.
F) LITERATURE: ART FOR ART'S SAKE:
This theory advocates for the absolute disinterest in art, denies any utility to the literary work and only
pursues beauty as its final goal, meaning that literary art has as its only purpose, art,
the work itself, which must be cared for, beautified as if it were a jewel. Théophile Gautier, is
one of the poets who most defended this stance.

From all these seemingly disparate interpretations, we can infer points

of contact: they all talk about the dynamism of language, of literature as inherent to
man and as transcendence, as a vital alternative.
It is part of the spirit of man; and it seeks communication with others. So many
conceptions move us away from a definitive, unique, and universal answer... Each one of
we have part of the answer. Literature expresses man as he is
man, and it involves all of us without further qualification.

ANALYSIS AND REFLECTION ACTIVITIES

1. Write in a group your own definition of Literature.

2. Why do you think Plutarch called literature 'speaking painting' and painting...
"silent poetry"?
3. What reflection does this comment on the literary fact provoke in you?
book:
The book is the receptacle of the work, it is not the literary fact. The literary phenomenon
It has existed before, in the act of creation. The receptacle itself is indifferent. Nevertheless
within it lies a dormant soul. The book, organization of the fixed signs by the
printing press, it is a dead thing until a glance restores communication between the
signs and the sleeping soul. Then the literary phenomenon will repeat itself as many times
as readers reach it. The book that is not read, Marcel Prevost has said, is a
turned off lamp.
The understanding gaze of the reader who possesses diverse codes awakens the soul.
asleep while traversing the signs and recomposing their structural interrelationship

4. Carefully read the following comments and conclude what functions of the
The following thoughts belong to literature:
A) According to Charles Du Bos, "literature is the meeting place of two souls"
...Schiller said: 'Of all the states of man, it is precisely play and only it
the game that fully realizes the human and simultaneously discovers its double
nature... In the pleasant, in the perfect, in the useful, man finds only seriousness;
but in beauty there is play... The man with beauty should do nothing but play and the
Man should play with nothing but beauty...
...To not live, I desperately immerse myself in the
art; I intoxicate myself with ink like others with wine...
D) Think Jean Paul Sartre: "Writing is calling on the reader to let pass to the
objective existence the unveiling that I undertook through language
E) Write T. Gautier: "Only what can serve for nothing is truly beautiful"
F) Plotinus' Thought on Beauty: "It is essential that the seer has become
similar and akin to what has been seen so that it may be given to contemplation, for never has an eye seen the sun
without having become like the sun, nor would any soul see the Beautiful without having become beautiful.
LITERARY GENRES

Literary genre is called each of the classes into which texts are divided.
literary works, written by authors with a specific purpose. Each literary genre
includes, in turn, other literary sub-genres.
Each genre has its characteristic features:
Lyrical genre: It is used to express feelings and for that, it generally employs the
verse.
Narrative genre: It is used to present stories created by characters who
they can intervene through dialogue. The narrator tells the story and for that, they can
to use different forms of elocution, that is, narration, description, exposition
or the argumentation.
Dramatic genre: It is one intended to be performed in front of an audience.
characters intervene without the mediation of any narrator, following the indications
about clothing, gestures, movements, etc. that are included in the text's annotations
theatrical.

Literary subgenres.
We call literary subgenres to each of the types of texts that are included in the
the previous mentioned genres, characterized by having common features of the genre to
that belong.
The main subgenres are the following:
Lyric subgenres:
Song: poem with a romantic theme.
Elegy: a poem in which the death of a loved one is mourned.
Ode: a poem that deals with a serious and elevated theme.
Satire: a poem used to ridicule someone or something.
Eclogue: a long poem with themes of nature and pastoral environment.
Narrative subgenres:
Tale: a brief narrative with few characters and with time and space barely defined.
developed.
Novel: a longer and more complex narrative than a short story where a complicated plot appears or
intense, solidly drawn characters, environments described in detail, with which
an autonomous and imaginary world is created.
Epic poem: It recounts heroic deeds with the purpose of glorifying a homeland.
example, The Aeneid, by Virgil.
Epic song: Poem written to praise a hero. For example, the Poem of My Cid.
Romance: Epic-lyric poem used to narrate feats or acts of arms.
Dramatic subgenres:
Comedy: Develops funny and friendly conflicts, with characters belonging to the world of
the normality.
Drama: The characters struggle against adversity, which often causes them great harm. They can
intervene comedic elements and then it takes the name of tragicomedy.
Tragedy: It presents terrible conflicts between highborn characters - kings, heroes - who are
victims of terrible passions that lead them to destruction and death.
Other dramatic subgenres: the sacramental play, the intermezzo, the paso, the melodrama, etc.