Five
Types of Context for Literary Works |
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By definition,
anything not contained within the literary text itself is potentially
context. However, not all types of context will be germane to any particular
literary work. Here are the broad categories of context we will consider
in this class. |
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1)
Authorial context |
Another
term for this is biographical context. To say that authors write
from their own experiences is an exaggeration (imagination is important,
too), but their lives always influence their work in some way.
That does not mean, however, that the author identifies with the main
character or even the narrator in a novel or the speaker in a poem, or
that the events or experiences he or she describes actually happened and
the author is just reporting what he or she has witnessed. Authorial
context connects a particular work to the authors life. Did
it come at the beginning of his or her career, in the middle, or at the
end? Had that career so far been successful or not? In some
cases, one book represents the entirety of the career. Consider
the circumstances under which a work was written. What was going
on in the authors life? What personal circumstances, or specific
event, either at the time of composition or in the past, motivated the
author to write it? In short, how does this work fit into the authors
life and what influence did that life have on it? While exploring
biographical context, useful sources include biographies of the author,
autobiographies or memoirs by the author or by people who knew him or
her, and critical works that give close attention to the authors
life.
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2) Socio-historical context |
Literary
works often respond in some way to the society in which they were written,
and most often (though not always) that response takes the form of criticism.
Think about how this particular work depicts society. With what
societal issues is it concerned? What seems to be the authors
attitude toward society? If you detect criticism, at whom or what
is it directed? How do you think the author would like to see society
changed? Where in the work do you see evidence of this? Does
the work describe real events, or some that are strikingly similar to
real events? Sources you might investigate include works (books
and articles) of history or sociology that talk about the strengths, weaknesses,
and changes occurring in the society during the period in which the work
is set or the author lived, and critical works that emphasize the connection
between the society and the work.
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3)
Philosophical context |
Contemporary authors consciously or subconsciously address the same questions
that have captivated humanitys attention ever since we became prosperous
enough to have the time and energy to think about them: What
is the nature of the universe? and What is the individuals
proper response to the universe?” Included in the first category
(metaphysics) are secondary questions about whether it has a purpose or
meaning, if it ever didnt exist or if it will ever stop existing,
if it had a creator and, if so, whether he or she or it is still involved
or interested and whether benign, malefic, or indifferent, and any other
questions you can imagine by replacing the word universe with something
else (humanity, life, death, thought, love, God, nature, time, and so on).
Included in the second category (ethics) are all questions of morality
and behavior, pleasure and pain, fate and free will, kindness and cruelty, and anything else concerning human actions. How does the author attempt to answer these questions in this
particular work? Since the world a literary work creates is less
complex than reality, and absolutely did have a creator, you can more
easily ask what the nature of the work’s universe is, and what the
characters proper relationship to that universe should be.
And while everyone answers (or elects not to answer) the big questions
in his or her own way, philosophy tends to develop trends and fashions
just as music, painting, and clothing do. To consider philosophical
context, determine which philosophical trends the author admires, and
which he or she is rejecting. How does the work demonstrate this?
Critical sources that explain the relationship between the work and philosophy
are important here, but once you find out which philosopher(s) influenced
the work, you also need to find at least one work that explains the philosophers
ideas, whether it is written by the philosopher or by someone else (but
this person should not be writing about the literary work).
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4)
Literary context |
To
whatever else literary works respond, they also respond to other literary
works. Authors respond to other authors positively, negatively, or
both. Consider some of the following questions. How does a particular
work fit into broader categories of literature? Can it be characterized
by a particular -ism such as Romanticism, Realism, Naturalism,
Existentialism, Modernism, or Postmodernism? If so, how does it fit into
and help us define the larger category, and how can we tell?
How is this work different from what came before it? What other works
or authors influenced it? What other works or authors did it influence
in return? Often, authors of fiction and poetry also write essays explaining
their own theories of literature and why they believe authors would write
in one way and not in another. Did this author write something like that?
Or did someone else write an essay like that with which the author either
strongly agreed or disagreed? How does the work reflect or react against
these principles? Those essays are your best sources here. Of course,
critical works that attempt to answer some of these questions are useful,
too.
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5) Critical
context |
Once
any work is published, it begins to attract criticism if it is
noticed at all. That is, critics begin to write about it,
expressing what they admire and what they dislike about it. Early
criticism typically takes the form of book reviews, which are usually
brief and concentrate mostly on explaining to prospective readers what
a work’s subject matter, theme, tone, and style are, and whether
it is any good. Over time, however, critics begin to reflect more
deeply. They are no longer concerned with recommending that people
read a work; rather, they assume a significant number of people have already
read it, and they attempt to explain something about it that the average
reader might not have noticed or considered. They point out hidden
meanings, influences, and patterns, and they make connections between
this work and others, and between this author and others. This is
the realm of serious literary criticism. For any paper for this
class, critical works are essential, but you need to distinguish between
contemporary reviews and later, deeper reflection. On the other
hand, once deeper critical reflection has begun to appear, nothing guarantees
progress. In the humanities something written in 1900 or 1940 may
well be more perceptive and exciting to read than something written in
1990. And because time tends to weed out inferior critical works
(just as it tends to weed out lesser literary works), something written
fifty years ago that you can still find in print may well be better than
something published last week.
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