War & Peace, which took more than two years to make and included filming in three countries, brings together a crop of the finest young acting talent to play characters whose lives are turned upside down by impact of Napoleonic expansionism on Tsarist Russia Photo: BBC
http://www.telegraph.co.uk/culture/books/12078324/War-and-Peace-great-but-has-anyone-read-it-Not-the-cast-of-the-new-BBC-production.html | via @Telegraph
Frye’s scheme is simple. In his view, the world of fiction is composed of four braided genres: novel, romance, anatomy, and confession. “Pride and Prejudice” is a novel. “Wuthering Heights” isn’t: it’s a romance, an extension of a form that predates the novel by many hundreds of years. (“The romancer does not attempt to create ‘real people’ so much as stylized figures which expand into psychological archetypes,” Frye writes. “That is why the romance so often radiates a glow of subjective intensity that the novel lacks.”) Novels take place in the regulated world—in “society”—and are driven by plots. Romances take place “in vacuo,” on the moors, where “nihilistic and untamable” things tend to happen. The characters in romances are often revolutionaries, but “the social affinities of the romance, with its grave idealizing of heroism and purity, are with the aristocracy.” For that reason, novels, which thrive on social sophistication, often incorporate romance in an ironic way (“Don Quixote,” “Lord Jim”). Many young-adult books, like those in the “Hunger Games” trilogy, are pure romances: maybe, instead of asking why so many grownups read young-adult novels, we ought to be asking why novels are losing, and romances gaining, in appeal.
Expression of emotion in books declined during 20th century, study finds – News releases – News – The University of Sheffield
We report here trends in the usage of “mood” words, that is, words carrying emotional content, in 20th century English language books, using the data set provided by Google that includes word frequencies in roughly 4% of all books published up to the year 2008. We find evidence for distinct historical periods of positive and negative moods, underlain by a general decrease in the use of emotion-related words through time. Finally, we show that, in books, American English has become decidedly more “emotional” than British English in the last half-century, as a part of a more general increase of the stylistic divergence between the two variants of English language.