Mid-morning. Breakfast and the morning
paper; with the outside temperature at eight below zero Fahrenheit. – Amorella
0857 hours. Word didn’t mark your last
‘sentence’ when clearly it doesn’t have a verb, Amorella. The semi-colon sets
the continuity. Interesting. I would not have thought this would work, tricking
Word like this.
Poetic license, boy. – Amorella
0903 hours. Word clearly marked the
above a ‘fragment’. I am curious about the definition ‘poetic license’. I know
what it means to me, but what does it mean when used properly?
** **
poetic licence - noun
UK ( US poetic license) US
the act
by a writer
or poet
of changing
facts
or rules
to make a story
or poem
more interesting
or effective:
From -
http://dictionary.cambridgeDOTorg
** **
0911
hours. This is a more general than I expected.
** **
POETIC LICENSE: The freedom of a poet or
other literary writer to depart from the norms of common discourse, literal
reality, or historical truth in order to create a special effect in or for the
reader. When applied to prose writers, the term is often called "artistic
license."
From - https://web.cnDOTedu/kwheeler/lit_terms_P.html
** **
Artistic license (also known as dramatic license, historical license,
poetic license, narrative license, licentia poetica, or
simply license) is a colloquial term, sometimes euphemism, used to
denote the distortion of fact, alteration of the conventions of grammar or
language, or rewording of pre-existing text made by an artist in the name of
art.
History
The
artistic license may also refer to the ability of an artist to apply smaller
distortions, such as a poet ignoring some of the minor requirements of grammar
for poetic effect. For example, Mark Antony’s "Friends, Romans,
Countrymen, lend me your ears" from Shakespeare’s Julius Caesar would technically require the word "and"
before "countrymen", but the conjunction "and" is omitted
to preserve the rhythm of iambic pentameter (the resulting conjunction is
called an asyndetic tricolon). Conversely, on the next line, the end of "I
come to bury Caesar, not to praise him" has an extra syllable because
omitting the word "him" would make the sentence unclear, but adding a
syllable at the end would not disrupt the meter. Both of these are examples of
artistic license.
Another
example of artistic license is the way in which stylized images of an object
(for instance in a painting or an animated movie) are different from their real
life counterparts, but [these] are still intended to be interpreted by the
viewer as representing the same thing. This can mean the omission of details,
or the simplification of shapes and colour shades, even to the point that the
image is nothing more than a pictogram. It can also mean the addition of
non-existing details, or exaggeration of shapes and colours, as in fantasy art
or a caricature.
Certain
stylizations have become fixed conventions in art; an agreement between artist
and viewer that is understood and undebated. A striking example is how in
simple cartoon drawings monochromatic white parts on a dark coloured surface
are immediately recognized by most viewers to represent the reflection of light
on a smooth or wet surface.
In
summary, artistic license is:
Entirely at the artist's
discretion
Intended to be tolerated by the
viewer (cf. "willing suspension of disbelief")
Useful for filling in gaps,
whether they be factual, compositional, historical or other gaps
Used consciously or
unconsciously, intentionally or unintentionally or in tandem
Dramatic license
Artistic
license is often referred to as dramatic license when it involves the
glamorization of real-world occupations for the sake of exciting television or
cinematic experience. For example, CSI”
Crime Scene Investigation and other police procedural police procedural
programs typically omit completely the more mundane aspects of the occupation
such as paperwork, reports, administrative duties and other daily
"business-oriented" aspects which in reality often constitute the
majority of police work. They will also present other duties with much more
action, suspense or drama than would be experienced in reality. The same is
also true for many military-oriented adventure stories which often show
high-ranking characters being allowed to continuously enter dangerous
situations when in reality, they would usually be restricted to
command-oriented or administrative duties.
Controversy and criticism
Artistic
license often provokes controversy by offending those who resent the
reinterpretation of cherished beliefs or previous works. Artists often respond
to these criticisms by pointing out that their work was not intended to be a
verbatim portrayal of something previous and should be judged only on artistic
merit. Artistic license is a generally accepted practice, particularly when the
result is widely acclaimed. William Shakespeare’s historical plays, for
example, are gross distortions of historical fact but are nevertheless lauded
as outstanding literary works.
Critical
voices are sometimes raised when artistic license is applied to cinematic and
other depictions of real historical events. While slight manipulation for
dramatic effect of chronology and character traits are generally accepted, some
critics feel that depictions that present a significantly altered reality are
irresponsible, particularly because many viewers and readers do not know the
actual events and may thus take the dramatized depiction to be true to reality.
Examples of films and television series criticized for excessive use of
dramatic license include Disney's Pocahontas,
Oliver Stone's Alexander, the HBO
series Rome and Showtime's The Tudors.
Writers adapting a work for
another medium (e.g., a film screenplay from a book) often make significant
changes, additions to, or omissions from the original plot in the book, on the
grounds that these changes were necessary to make a good film. These changes
are sometimes to the dismay of fans of the original work.
Selected and edited from –
Wikipedia – Artistic License.
** **
1146
hours. This is what I was looking for, more detail. Wikipedia comes through
again. Obviously my books use a lot of artistic license, much more than I
thought, and I can feel okay about it. I like the work to be somewhat accurate
where it can be but it is not historical fiction. I just don’t want these works
to be thought of as literary fantasy. The best definition of sorts I could find
on short notice is from the PFS Publishing Book Club.
** **
Literary
Definitions: The Fantasy Genre
The fantasy genre is described as being primarily focused on magic, the
supernatural, and the occult. It has its roots in fairy tales, myths, and
legends of the world's ancient cultures, absorbing everything from Chinese
dragons to the Greek hero quest. What happens in the fantasy genre simply
cannot take place in the real world - which is the main aspect of its allure.
The fantasy
genre is generally grouped together with its sister genre, science fiction. The
difference between the two is that while fantasy relies on magic to explain the
moments of unreality, science fiction relies on pseudoscience. Fantasy is
generally considered to be worshipping the past, the pre-Christian world of
pagan rites and gods, while science fiction is about the future: traveling
through space and battling aliens.
Fantasy is
also related to the horror genre. The horror genre's main task is to scare the
reader. In many of these stories, the writer does this through supernatural
means. When that happens, the book is considered both fantasy and horror.
Fantasy also
appears in numerous high literary stories as magical realism. Magical realism
is described as being light touches of fantasy in an otherwise real world
story. Magical realism is quite popular in today's publishing world.
The fantasy
genre came into vogue in the 20th century thanks to a pair of friends: CS Lewis
and JRR Tolkien. Lewis wrote the Christian allegory children's tale The
Chronicles of Narnia, while Tolkien wrote about Middle-Earth, including his
masterpiece, The Lord of the Rings trilogy. Between them, these two
series set up most of the fantasy genre's tropes and helped to make fantasy a
profitable market for publishers. Before then, fantasy was mostly limited to
more literary work. Lewis and Tolkien defined the fantasy genre as we know it
today.
Most genres
can be divided into sub-groupings, called sub-genres. These are
the popular sub-genres of fantasy:
High Fantasy: These works take
place on a non-Earth world, where sorcery is part of the everyday life of the
characters. While magic can still be rare or special, magic and magical
creatures are simply part of that world's existence. Examples include Lord
of the Rings, Symphony of Ages, and The Belgariad (Polgara the Sorceress
is the final book of that series, pictured).
Fairy Tales and Myths: While fairy
tales and myths - in their centuries old form - get their own separate genre,
retellings of fairy tales and myths into the modern day or stories that take
elements from them are part of the fantasy genre. Examples include the comic
book series Fables and Neil Gaiman's American Gods.
Paranormal Romance: This is the
sub-genre caused by the merger of fantasy elements and romance novels. Romance
publisher Harlequin has several imprints dedicated to this sub-genre, and many
Young Adult novels have followed this sub-genre, including Twilight.
Sword & Sorcery: An even
further division of high fantasy, the sword & sorcery sub-genre comes from
the ancient and medieval epics, where heroes would battle for love and home and
against the power of the gods. These works are characterized by their reliance
on violence through swordplay and powerful magic. Hero quest stories tend to be
of this type. The stories of King Arthur and his knights are the most famous
example.
Urban Fantasy: Usually set in
contemporary Earth, urban fantasy takes fantasy elements and places them in the
real world. These stories are commonly crossed with paranormal
romance and/or detective stories. While the sub-genre is called
"urban" fantasy, the stories do not always take place in cities.
Examples include the Anita Blake novels, The Dresden Files,
and the Sookie Stackhouse stories.
So that's
the basics of fantasy. Magic = fantasy. Not too hard, right?
Selected
from
http://www.pfspublishingDOTcom/bookclub/2011/03/literary-definitions-the-fantasy-genre.html
Literature: The Literature genre is both a catch-all genre for books that
don't fit in the other categories and a genre term that describes books written
before the contemporary period, from Post-Modern on back. Literature, for
contemporary books, describes books that generally reflect the real world and
with a focus on human interactions and emotions. The term literature also
reflects a higher reading skill level and ambitious writing than the other
genres.
** **
1208
hours. I also included a short definition of literature according the their
book club. I feel Great Merlyn’s Ghost is a literary attempt first and
foremost, not a general fiction or fantasy. This is my opinion probably because
of the amount of time and work I have focused on this and the Merlyn’s Mind
trilogy.
You had a late lunch at Chipotle/Panera and
Carol wanted to shop at Macy’s so you are at the south lot of the Kenwood
Centre waiting with an objective to stop at Graeter’s on the way home.
1508
hours. The sun has come out today. It is not so bad waiting in the car with the
front window facing south taking in the solar radiation. I’m going to have to
read over Dead 7, I cannot remember a thing – it has been months.
The focus is on souls. – Amorella
1512 hours. I will have to go over
lots of notes; I forget what was said. Perhaps it is not a good time to work on
this.
Merlyn is in his sanctuary. – Amorella
There will be fewer characters to deal
with anyway.
1524
hours. Wow. Dead 7 focuses on the twelve shamans witnessing above the River
Styx; the PouchMaster, a marsupial-humanoid shaman, and his story of
Elderfelder; and Merlyn and others shamans witnessing Ezekiel witnessing the
big wheel (faith) and the little wheel (Grace). I had forgot all this. – So,
what can the plot be. It looks like Dead 7 would fit in where Dead 8 would be
as it ties in with Pouch 8. I didn’t remember Elderfelder even being mentioned
earlier than chapter eight.
This is where the ‘magic’ is, young man, not
in the book but in the making of the book. – Amorella
1538 hours. “This will never sell [the
book], Amorella,” just flew out dark humored and sarcastic toned. I don’t
believe I even thought it let alone see it in print.
You noted it unconsciously. – Amorella
You
are home. Carol is working in the basement. You are thinking about a nap. Later.
– Amorella
Light
snack for supper. You watched NBC News, “Castle” and “NCIS.LA” from last night.
– Amorella
2108 hours. I found myself growing
bored with both shows. Maybe I’m watching to many of them. The plots have been
used over and over. Who am I to be critical? Both are popular television. Maybe
I was just bored tonight. I did not have a nap, which might be the problem. Does
Merlyn talk with anyone in Dead 8?
Merlyn and PouchMaster have their first
discussion. – Amorella
2125 hours. What will they talk about?
The second rebellion is over and done with. The Dead of both species can greet
and meet, so to speak, though I cannot understand why they would other than for
curiosity’s sake. I would see myself as curious but personally I’d rather meet
other human Dead first.
The marsupial-humanoid are human Dead also.
– Amorella
2129 hours. In the story true, but I
like to project the concept as if it were real so I can get a better handle on
it. In some ways I think I would just as soon stay clear of the Dead. I have
nothing to add to what people already talk about other than an opinion just
like everyone else. Shyness and having little to contribute are basic building
blocks of mine; reasons for observing from a distance and listening to the
discussions and chatter allow me more of a comfort zone. I learn something by
listening to others. Listening is more my speed. This is one of the joys of
writing my thoughts. No one has to listen or to read; people are free to do
what they want as far as I am concerned. People already have lots of
interferences in their lives. I am having trouble thinking about two dead
people from different species. The only thing they have in common is their
humanity and vocation as shamans among their respective species. What would be
the purpose of the conversation, what would be the necessity? I mean this is
Merlyn’s dream world, what would be troubling him to conjure up such a
conversation in his mind? (2144)
A good place to stop, orndorff. Post. –
Amorella
2146 hours. Going over this post to
drop it into the blog you said earlier that the focus is on souls. Souls are
souls and are the same, aren’t they?
The discussion is on which of the three
parts is more equal, heart, soul or mind in both species. – Amorella
2149 hours. That doesn’t make sense.
No part of the human spirit is equal. You cannot compare unlike things. They
are of the same worth.
How is that, boy? – Amorella
2151 hours. There is supposed to be a
balance among all three. Say, for instance, that there is a discussion about
justice. Justice has to be treated the same from each standpoint.
Why is that? – Amorella
You have to start from somewhere.
Each, the heart, the soul and the mind would have to discussion justice from a
like definition.
What does the soul know of justice? –
Amorella
2155 hours. I do not know what the
soul knows.
I have no idea.
2217
hours. I need a common definition of the soul existing before, as it were, the
children of Angels or something akin to this as far as the story is concerned.
** **
Pre-existence
Pre-existence, preexistence, before life, or pre-mortal
existence refers to the belief that each individual human soul existed
before mortal conception, and at some point before birth enters or is placed by
God into the body. Concepts of pre-existence can encompass either the belief
that the soul came into existence at some time prior to conception or the
belief that the soul is eternal. Alternative positions are traducianism and
creationism, which both hold that the individual human soul does not come into
existence until conception.
Ancient Greek thought and Islam affirm
pre-existence, but it is generally denied in Christianity.
Greek thought
Plato believed in the
pre-existence of the soul, which tied in with his innatism. He thought that we
are born with knowledge from a previous life that is subdued at birth and must
be relearned. He saw all attainment of knowledge not as acquiring new
information, but as remembering previously known information. Before we were
born, we existed in a perfect world where we knew everything.
Selected and edited from
Wikipedia – Pre-existence
** **
From the point of the view of the Dead of
both species in the story accept that the soul exists before the human spirit.
This is an assumption on their part. The Dead do not know which is one of the
reasons for the discussion. The Dead do not know Angels as such exist either
because they cannot come upon a common definition. Messenger is more acceptable
than Angel although an Angel – higher than a messenger, may give birth, so to
speak, of the soul because it is immortal though not necessarily everlasting.
Artistic license. One
of the points of discussion is that if the soul is the child of the Angel then
what knowledge is inherited and how does this effect the heartanmind that come
to dwell within? If the knowledge inherited is equal, then are all souls equal?
What is justice from the point of the view of the soul? – Amorella
2252 hours. This narrows the focus and
becomes easier to absorb.
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