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In any narrative, the focal character is the character on whom the audience is meant to place the majority of their interest and attention. He or she is almost always also the protagonist of the story; however, in cases where the "focal character" and "protagonist" are separate, the focal character's emotions and ambitions are not meant to be empathized with by the audience to as high an extent as the protagonist (this is the main difference between the two character terms). The focal character is mostly created to simply be the "excitement" of the story, though not necessarily the main character about whom the audience is emotionally concerned. The focal character is, more than anyone else, "the person on whom the spotlight focuses; the center of attention; the man whose reactions dominate the screen."For example, in Gaston Leroux's The Phantom of the Opera, the protagonist is Christine Daaé (the audience is concerned mostly with her emotions, aims, and well-being), while the focal character is the "Phantom" (the audience is concerned mostly with the allure of his actions and reactions—though to some degree, later on, his emotions as well). In another example, in "The Fall of the House of Usher" by Edgar Allan Poe, the protagonist of the story is unnamed and does not have a great effect on the story, though he is present. He does not show much emotion throughout the story, and the reader is not as interested in him. The focal character of the story is Roderick Usher, whom the reader cares for more greatly and follows his condition and emotions more.
The focal character is also not necessarily the same thing as the viewpoint character, through whose perspective the story is seen. In Sir Arthur Conan Doyle's works of Sherlock Holmes, Watson is the viewpoint character, but the story revolves around Holmes, making him the focal character.
Industry:Literature
Folklore (or lore) consists of legends, music, oral history, proverbs, jokes, popular beliefs, fairy tales, stories, tall tales, and customs included in the traditions of a culture, subculture, or group. It also includes the set of practices through which those expressive genres are shared. The study of folklore is sometimes called folkloristics, and people who study folklore are sometimes referred to as "folklorists". The English antiquarian William Thoms introduced the word "folklore" in a letter published in the London journal The Athenaeum in 1846. In usage, there is a continuum between folklore and mythology. Stith Thompson (1885-1976) made a major attempt to index the motifs of both folklore and mythology, providing an outline for classifying new motifs, and within which scholars can keep track of all older motifs.
Folklore can be divided into four areas of study:These areas do not stand alone, however, as often a particular item or element may fit into more than one of these areas.
Industry:Literature
Form criticism is a method of biblical criticism that classifies units of scripture by literary pattern and that attempts to trace each type to its period of oral transmission. Form criticism seeks to determine a unit's original form and the historical context of the literary tradition. Hermann Gunkel originally developed form criticism to analyze the Hebrew Bible. It has since been used to supplement the documentary hypothesis explaining the origin of the Pentateuch (the first five books of the Hebrew Bible or Old Testament) and to study the Christian New Testament.
Industry:Literature
Gay pulp fiction, or gay pulps, refers to printed works, primarily fiction, that include references to male homosexuality, specifically male gay sex, and that are cheaply produced, typically in paperback books made of wood pulp paper; lesbian pulp fiction is similar work about women. Michael Bronski, the editor of an anthology of gay pulp writing, notes in his introduction, "Gay pulp is not an exact term, and it is used somewhat loosely to refer to a variety of books that had very different origins and markets" People often use the term to refer to the "classic" gay pulps that were produced before about 1970, but it may also be used to refer to the gay erotica or pornography in paperback book or digest magazine form produced since that date.
Industry:Literature
In grammar, a future tense is a verb form that generally marks the event described by the verb as not having happened yet, but expected to happen in the future. An example of a future tense form is the French aimera, meaning "will love", derived from the verb aimer ("love"). English does not have a future tense formed by verb inflection in this way, although it has a number of ways of expressing futurity, particularly the construction with the auxiliary verb will or shall, and grammarians differ in whether they describe such constructions as representing a future tense in English, one and all.
The "future" expressed by the future tense usually means the future relative to the moment of speaking, although in contexts where relative tense is used it may mean the future relative to some other point in time under consideration. Future tense can be denoted by the glossing abbreviation FUT.
Industry:Literature
Genealogy, also known as family history, is the study of families and the tracing of their lineages and history. Genealogists use oral interviews, historical records, genetic analysis, and other records to obtain information about a family and to demonstrate kinship and pedigrees of its members. The results are often displayed in charts or written as narratives.
The pursuit of family history and origins tends to be shaped by several motivations, including the desire to carve out a place for one's family in the larger historical picture, a sense of responsibility to preserve the past for future generations, and a sense of self-satisfaction in accurate storytelling.
Industry:Literature
General epistles (also called Catholic Epistles) are books in the New Testament in the form of letters. They are termed "general" because for the most part their intended audience seems to be Christians in general rather than individual persons or congregations as is the case with the Pauline epistles. However, 2 John and 3 John are included in this group despite their addresses respectively to the "elect lady", speculated by many to be the church itself, and to "Gaius", about whom there has been much speculation but little in the way of conclusive proof as to his identity.
There has been some speculation as to the authorship of these works. Many scholars believe 2 Peter to be a pseudepigraphal work.
The epistles of James and Jude are traditionally attributed to Jesus' brothers James and Jude.
Listed in order of their appearance in the New Testament, the General Epistles are:
Industry:Literature
A ghost story may be any piece of fiction, or drama, that includes a ghost, or simply takes as a premise the possibility of ghosts or characters' belief in them. The "ghost" may appear of its own accord or be summoned by magic. Linked to the ghost is the idea of "hauntings", where a supernatural entity is tied to a place, object or person. Colloquially, the term "ghost story" can refer to any kind of scary story. In a narrower sense, the ghost story has been developed as a short story format, within genre fiction. It is a form of supernatural fiction and specifically of weird fiction, and is often a horror story. While ghost stories are often explicitly meant to be scary, they have been written to serve all sorts of purposes, from comedy to morality tales. Ghosts often appear in the narrative as sentinels or prophets of things to come. Belief in ghosts is found in all cultures around the world, and thus ghost stories may be passed down orally or in written form.
Industry:Literature
Genre, Greek: genos, γένος) is the term for any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audial or visual, based on some set of stylistic criteria. Genres are formed by conventions that change over time as new genres are invented and the use of old ones are discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions. Genre theory is a branch of critical theory.
Genre began as an absolute classification system for ancient Greek literature. Poetry, prose and performance had a specific and calculated style that related to the theme of the story. Speech patterns for comedy would not be appropriate for tragedy, and even actors were restricted to their genre under the assumption that a type of person could tell one type of story best. In later periods genres proliferated and developed in response to changes in audiences and creators. Genre became a dynamic tool to help the public make sense out of unpredictable art. Because art is often a response to a social state, in that people write/paint/sing/dance about what they know about, the use of genre as a tool must be able to adapt to changing meanings. In fact as far back as ancient Greece, new art forms were emerging that called for the evolution of genre, for example the "tragicomedy".
Genre suffers from the same ills of any classification system. Genre is useful as long as it is remembered that it is a helpful tool, to be reassessed and scrutinized, and to weigh works on their unique merit as well as their place within the genre. It has been suggested that genres resonate with people because of the familiarity, the shorthand communication, as well as the tendency of genres to shift with public mores and to reflect the zeitgeist. While the genre of storytelling has been relegated as lesser form of art because of the heavily borrowed nature of the conventions, admiration has grown. Proponents argue that the genius of an effective genre piece is in the variation, recombination, and evolution of the codes.
Industry:Literature
Gong'an or crime-case fiction is a subgenre of Chinese crime fiction involving government magistrates who solve criminal cases. The Judge Dee and Judge Bao stories are the best known examples of the genre.
Industry:Literature
