Misplaced Pages

#599400

48-710: Very Short Introductions ( VSI ) is a book series published by the Oxford University Press (OUP). The books are concise introductions to particular subjects, intended for a general audience but written by experts. Most are under 200 pages long. While authors may present personal viewpoints, the books are meant to be "balanced and complete" as well as thought provoking. The series began in 1995, and by March 2023 there were 730 titles, published or announced. The books have been commercially successful, and have been published in more than 25 languages. Institutions can subscribe to an online service to allow their users to read

96-685: A character on a real person can use a person they know, a historical figure, a current figure whom they have not met, or themselves, with the latter being either an author-surrogate or an example of self-insertion . The use of a famous person easily identifiable with certain character traits as the base for a principal character is a feature of allegorical works, such as Animal Farm by George Orwell, which portrays Soviet revolutionaries as pigs. Other authors, especially for historical fiction , make use of real people and create fictional stories revolving around their lives, as with The Paris Wife which revolves around Ernest Hemingway . An author can create

144-438: A character using the basic character archetypes which are common to many cultural traditions: the father figure , mother figure, hero , and so on. Some writers make use of archetypes as presented by Carl Jung as the basis for character traits. Generally, when an archetype from some system (such as Jung's) is used, elements of the story also follow the system's expectations in terms of storyline . An author can also create

192-441: A common setting , story arc , set of characters or timeline . They are common in genre fiction , particularly crime fiction , adventure fiction , and speculative fiction , as well as in children's literature . Some works in a series can stand alone—they can be read in any order, as each book makes few, if any, reference to past events, and the characters seldom, if ever, change. Many of these series books may be published in

240-437: A definitive roman fleuve . Today, however, its seven volumes are generally considered to be a single novel. Proust's work was immensely influential, particularly on British novelists of the middle of the twentieth century who did not favour modernism . Some of those follow the example of Anthony Powell , a Proust disciple, but consciously adapting the technique to depict social change, rather than change in high society. This

288-511: A different theme, were released in 2006. Five books from the series on the given theme were included, plus the series' promotional volume A Very Short Introduction to Everything . Book series Reprint series of public domain fiction (and sometimes nonfiction) books appeared as early as the 18th century, with the series The Poets of Great Britain Complete from Chaucer to Churchill (founded by British publisher John Bell in 1777). In 1841

336-455: A distinction between the individuals represented in tragedy and in comedy arose: tragedy, along with epic poetry , is "a representation of serious people" (1449b9—10), while comedy is "a representation of people who are rather inferior" (1449a32—33). In the Tractatus coislinianus (which may or may not be by Aristotle), Ancient Greek comedy is defined as involving three types of characters:

384-429: A fictional character using generic stock characters , which are generally flat. They tend to be used for supporting or minor characters. However, some authors have used stock characters as the starting point for building richly detailed characters, such as William Shakespeare 's use of the boastful soldier character as the basis for John Falstaff . Some authors create charactonyms for their characters. A charactonym

432-571: A novel sequence. For example, the Barchester novels of Anthony Trollope are only loosely related, although they contain a recurring cast of characters; his political novels about the Pallisers have a tighter connection and dynamic. A strict definition might exclude both. With precedents such as Madeleine de Scudéry 's magnum opus, Artamène , the novel sequence was a product of the nineteenth century, with James Fenimore Cooper 's works appearing in

480-525: A numbered series. Examples of such series are works like The Hardy Boys , Nancy Drew , and Nick Carter . Some series do have their characters go through changes, and make references to past events. Typically such series are published in the order of their internal chronology, so that the next book published follows the previous book. How much these changes matter will vary from series to series (and reader to reader). For some, it may be minor—characters might get engaged, change jobs, etc., but it does not affect

528-689: A real-life person, in which case the distinction of a "fictional" versus "real" character may be made. Derived from the Ancient Greek word χαρακτήρ , the English word dates from the Restoration , although it became widely used after its appearance in Tom Jones by Henry Fielding in 1749. From this, the sense of "a part played by an actor " developed. (Before this development, the term dramatis personae , naturalized in English from Latin and meaning "masks of

SECTION 10

#1733084753600

576-470: A series are sometimes enumerated according to the internal chronology rather than in publication order, depending on the intended purpose for the list. Examples of this series include works from the Chronicles of Narnia , where the fifth book published, The Horse and His Boy , is actually set during the time of the first book, and the sixth book published, The Magician's Nephew is actually set long before

624-530: A series can be by discipline, focus, approach, type of work, or geographic location. Examples of such series include the "Antwerp Working Papers in Linguistics", "Early English Manuscripts in Facsimile", "Garland Reference Library", "Canterbury Tales Project", " Early English Text Society ", and " Cambridge Companions to Music ". Book series can be compared with editorial collection, a type of serial publication which

672-486: A specific order, but with a certain affinity in the content of books (collections on art, on religion, on science...), as well as in the format , spine and page layout , even grammage , number of pages and style of typeface . Character (arts) In fiction , a character is a person or other being in a narrative (such as a novel , play , radio or television series , music , film , or video game ). The character may be entirely fictional or based on

720-458: Is a "walk-on", a term used by Seymour Chatman for characters that are not fully delineated and individualized; rather they are part of the background or the setting of the narrative. Dynamic characters are those that change over the course of the story, while static characters remain the same throughout. An example of a popular dynamic character in literature is Ebenezer Scrooge , the protagonist of A Christmas Carol by Charles Dickens. At

768-587: Is a name that implies the psychological makeup of the person, makes an allegorical allusion, or makes reference to their appearance. For example, Shakespeare has an emotional young male character named Mercutio , John Steinbeck has a kind, sweet character named Candy in Of Mice and Men , and Mervyn Peake has a Machiavellian, manipulative, and murderous villain in Gormenghast named Steerpike . The charactonym can also indicate appearance. For example, François Rabelais gave

816-508: Is common in the Romance-speaking world , especially in France. Although the two are similar in many ways, book series and editorial collection differ because books in a series generally have a common subject, character, or universe; in other words, a set of volumes that are related to each other by certain thematic elements. While books in a collection do not necessarily have a common subject, or

864-491: Is possible, therefore, to have stories that do not contain "characters" in Aristotle's sense of the word, since character necessarily involves making the ethical dispositions of those performing the action clear. If, in speeches, the speaker "decides or avoids nothing at all", then those speeches "do not have character" (1450b9—11). Aristotle argues for the primacy of plot ( mythos ) over character ( ethos ). He writes: But

912-927: The Routledge's Railway Library ( George Routledge , 1848–99), the Oxford World's Classics ( Oxford University Press , from 1901), the Everyman's Library ( J. M. Dent , from 1906), the Penguin Classics ( Penguin Books , from 1945) and the Penguin English Library (from 1963). Reprint series were also published in the United States, including the Modern Library ( Boni & Liveright , from 1917), in Germany, including

960-543: The Universal-Bibliothek ( Reclam , from 1867), and in most other countries of the world. A novel sequence is a set or series of novels which share common themes, characters, or settings, but where each novel has its own title and free-standing storyline, and can thus be read independently or out of sequence. A novel sequence contains story arcs or themes that cross over several books, rather than simply sharing one or more characters. Fictional series typically share

1008-463: The buffoon ( bômolochus ), the ironist ( eirōn ), and the imposter or boaster ( alazṓn ). All three are central to Aristophanes ' Old Comedy . By the time the Roman comic playwright Plautus wrote his plays two centuries later, the use of characters to define dramatic genres was well established. His Amphitryon begins with a prologue in which Mercury claims that since

SECTION 20

#1733084753600

1056-426: The franchises of the film industry. Notable nonfiction book series for the general public have included: In scholarly and academic publishing , scientific and non-fiction books that are released serially (in successive parts) once a year, or less often, are also called a series . (Publications that are released more often than once a year are known as periodicals .) The connection among books belonging to such

1104-452: The social relations of class and gender , such that the conflicts between the characters reveal ideological conflicts. The study of a character requires an analysis of its relations with all of the other characters in the work. The individual status of a character is defined through the network of oppositions (proairetic, pragmatic , linguistic , proxemic ) that it forms with the other characters. The relation between characters and

1152-402: The 1820s, and Anthony Trollope 's Barchester books in the 1850s. In French literature , Honoré de Balzac 's ambitious La Comédie humaine , a set of nearly 100 novels, novellas and short stories with some recurring characters, started to come together during the 1830s. Émile Zola 's Rougon-Macquart cycle is a family saga , a format that later became a popular fictional form, going beyond

1200-545: The 19th century, the art of creating characters, as practiced by actors or writers , has been called characterization . A character who stands as a representative of a particular class or group of people is known as a type. Types include both stock characters and those that are more fully individualized . The characters in Henrik Ibsen 's Hedda Gabler (1891) and August Strindberg 's Miss Julie (1888), for example, are representative of specific positions in

1248-537: The German Tauchnitz publishing firm launched the Collection of British and American Authors , a reprint series of inexpensive paperbound editions of both public domain and copyrighted fiction and nonfiction works. This book series was unique for paying living authors of the works published even though copyright protection did not exist between nations in the 19th century. Later British reprint series were to include

1296-500: The Rings volumes or the Dark Tower series by Stephen King. Some authors make it difficult to list their books in a numerical order when they do not release each work in its 'proper' order by the story's internal chronology. They might 'jump' back in time to early adventures of the characters, writing works that must be placed before or between previously published works. Thus, the books in

1344-452: The action of the story shifts historically, often miming shifts in society and its ideas about human individuality, self-determination , and the social order . In fiction writing , authors create dynamic characters using various methods. Sometimes characters are conjured up from imagination; in other instances, they are created by amplifying the character trait of a real person into a new fictional creation. An author or creator basing

1392-486: The books. Most of the books have been written specifically for the series, but around 60 were recycled from earlier OUP publications: several had been in OUP's Past Masters series, and numbers 17–24 used chapters from The Oxford Illustrated History of Britain (1984). Each book of the series is numbered on its spine. These numbers broadly, but not exactly, correspond with the publication dates. Two books have been removed from

1440-453: The characters, but they include the characters for the sake of their actions" (1450a15-23). Aristotle suggests that works were distinguished in the first instance according to the nature of the person who created them: "the grander people represented fine actions, i.e. those of fine persons" by producing "hymns and praise-poems", while "ordinary people represented those of inferior ones" by "composing invectives" (1448b20—1449a5). On this basis,

1488-527: The choice of subjects". Schulz also described the quality of the books as variable, favourably comparing the books written about Teeth , Deserts and Robotics against those written on Mountains , Home and Archaeology . In the Fortnightly Review , Michelene Wandor said that the series "successfully bridged the gap between academic and trade publishing" and reviewed six volumes. See List of Very Short Introductions books . Six boxed sets, each with

Very Short Introductions - Misplaced Pages Continue

1536-423: The conventional three-volume novel . A roman-fleuve (French, literally "river-novel") is an extended sequence of novels of which the whole acts as a commentary for a society or an epoch, and which continually deals with a central character, community or a saga within a family. The river metaphor implies a steady, broad dynamic lending itself to a perspective. Each volume makes up a complete novel by itself, but

1584-467: The drama", encapsulated the notion of characters from the literal aspect of masks .) Character, particularly when enacted by an actor in the theater or cinema, involves "the illusion of being a human person". In literature, characters guide readers through their stories, helping them to understand plots and ponder themes. Since the end of the 18th century, the phrase " in character " has been used to describe an effective impersonation by an actor. Since

1632-579: The earliest surviving work of dramatic theory , Poetics ( c.  335 BCE ), the Classical Greek philosopher Aristotle states that character ( ethos ) is one of six qualitative parts of Athenian tragedy and one of the three objects that it represents (1450a12). He understands character not to denote a fictional person, but the quality of the person acting in the story and reacting to its situations (1450a5). He defines character as "that which reveals decision , of whatever sort" (1450b8). It

1680-463: The entire cycle exhibits unifying characteristics. The metaphor of the roman-fleuve was coined by Romain Rolland to describe his 10-volume cycle Jean-Christophe . In the preface to the seventh volume, Dans la maison (1908/1909) he wrote: "When you see a man, do you ask yourself whether he is a novel or a poem? ... Jean-Christophe has always seemed to me to flow like a river; I have said as much from

1728-427: The first book. This was done intentionally by C. S. Lewis , a scholar of medieval literature. Medieval literature did not always tell a story chronologically. There is no useful, formal demarcation between novel sequences and multi-part novels. Novels that are related may or may not fall into a clear sequence. It is also debatable whether a trilogy is long enough and whether its parts are discrete enough to qualify as

1776-406: The first pages." The term has subsequently been applied to other French novel sequences, particularly of the years between the world wars, notably: The 19th-century predecessors may be distinguished as being rather "family sagas", as their stories are from the perspective of a single family, rather than society as a whole. Marcel Proust's À la recherche du temps perdu has come to be regarded as

1824-505: The main storyline. Examples of this type include Tony Hillerman 's Jim Chee and Joe Leaphorn books. In other series, the changes are major and the books must be read in order to be fully enjoyed. Examples of this type include the Harry Potter series. There are some book series that are not really proper series, but more of a single work so large that it must be published over two or more books. Examples of this type include The Lord of

1872-406: The most important of these is the structure of the incidents. For (i) tragedy is a representation not of human beings but of action and life. Happiness and unhappiness lie in action, and the end [of life] is a sort of action, not a quality; people are of a certain sort according to their characters, but happy or the opposite according to their actions. So [the actors] do not act in order to represent

1920-633: The name Gargantua to a giant and the huge whale in Pinocchio (1940) is named Monstro . In his book Aspects of the Novel , E. M. Forster defined two basic types of characters, their qualities, functions, and importance for the development of the novel: flat characters and round characters. Flat characters are two-dimensional, in that they are relatively uncomplicated. By contrast, round characters are complex figures with many different characteristics, that undergo development, sometimes sufficiently to surprise

1968-406: The narrative structure, unlike core characters, for which any significant conflict must be traced during a considerable time, which is often seen as an unjustified waste of resources. There may also be a continuing or recurring guest character. Sometimes a guest or minor character may gain unanticipated popularity and turn into a regular or main one; this is known as a breakout character . In

Very Short Introductions - Misplaced Pages Continue

2016-404: The play contains kings and gods, it cannot be a comedy and must be a tragicomedy . [...] is first used in English to denote 'a personality in a novel or a play' in 1749 ( The Shorter Oxford English Dictionary , s.v.). Its use as 'the sum of the qualities which constitute an individual' is a mC17 development. The modern literary and theatrical sense of 'an individual created in a fictitious work'

2064-400: The preconstructed novel sequence is often attributed to E. E. Doc Smith , with his Lensman books. Such sequences, from contemporary authors, tend to be more clearly defined than earlier examples. Authors are now more likely to announce an overall series title, or write in round numbers such as 12 volumes. These characteristics are not those of the classical model forms, and become more like

2112-476: The reader. In psychological terms, round or complex characters may be considered to have five personality dimensions under the Big Five model of personality. The five factors are: Stock characters are usually one-dimensional and thin. Mary Sues are characters that usually appear in fan fiction which are virtually devoid of flaws, and are therefore considered flat characters. Another type of flat character

2160-400: The series' run. Recurring characters often play major roles in more than one episode, sometimes being the main focus. A guest or minor character is one who acts only in a few episodes or scenes. Unlike regular characters, the guest ones do not need to be carefully incorporated into the storyline with all its ramifications: they create a piece of drama and then disappear without consequences to

2208-523: The series: #60, "Shakespeare" by Germaine Greer was replaced by "William Shakespeare" by Stanley Wells ; and #116, "Anarchism" by Colin Ward was replaced by "Anarchism" by Alex Prichard. Writing in the New Yorker in 2017, Kathryn Schulz praised the diversity of topics covered but noted significant gaps in coverage, including an absence of women and people of colour in its 54 biographies and "a British bias in

2256-450: The start of the story, he is a bitter miser, but by the end of the tale, he transforms into a kindhearted, generous man. In television, a regular, main or ongoing character is a character who appears in all or a majority of episodes, or in a significant chain of episodes of the series. Regular characters may be both core and secondary ones. A recurring character or supporting character often and frequently appears from time to time during

2304-624: Was a step beyond the realist novels of Arnold Bennett (the Clayhanger books) or John Galsworthy . The twenty-novel Aubrey-Maturin series by the English author Patrick O'Brian has been called perhaps the best-loved roman fleuve of the twentieth century: "[an] epic of two heroic yet believably realistic men that would in some ways define a generation". Although sequences of genre fiction are sometimes not considered to be romans-fleuves , novel sequences are particularly common in science fiction and epic fantasy genres. The introduction of

#599400