Writing process There is a range of approaches that writers take to the task of writing. Each writer needs to find their own process and most describe it as more or less a struggle. Before the invention of photocopiers and electronic text storage, a writer's work had to be stored on paper, which meant it was very susceptible to fire in particular. In very early times, writers used vellum and clay which were more robust materials.
See Article History Nonfictional prose, any literary work that is based mainly on fact, even though it may contain fictional elements. Examples are the essay and biography. Defining nonfictional prose literature is an immensely challenging task. This type of literature differs from bald statements of fact, such as those recorded in an old chronicle or inserted in a business letter or in an impersonal message of mere information.
Separate articles cover biography and literary criticism. Nature Nonfictional prose genres cover an almost infinite variety of themes, and they assume many shapes.
In quantitative terms, if such could ever be valid in such nonmeasurable matters, they probably include more than half of all that has been written in countries having a literature of their own.
Nonfictional prose genres have flourished in nearly all countries with advanced literatures. The genres include political and polemical writings, biographical and autobiographical literature, religious writings, and philosophical, and moral or religious writings.
After the Renaissance, from the 16th century onward in Europe, a personal manner of writing grew in importance. The author strove for more or less disguised self-revelation and introspective analysis, often in the form of letters, private diaries, and confessions.
Also of increasing importance were aphorisms after the style of the ancient Roman philosophers Seneca and Epictetus, imaginary dialoguesand historical narratives, and later, journalistic articles and extremely diverse essays. From the 19th century, writers in Romance and Slavic languages especially, and to a far lesser extent British and American writers, developed the attitude that a literature is most truly modern when it acquires a marked degree of self-awareness and obstinately reflects on its purpose and technique.
Such writers were not content with imaginative creation alone: The 19th-century French poet Charles Baudelaire asserted that no great poet could ever quite resist the temptation to become also a critic: Indeed, most modern writers, in lands other than the United States, whether they be poets, novelists, or dramatists, have composed more nonfictional prose than poetry, fictionor drama.
In the instances of such monumental figures of 20th-century literature as the poets Ezra PoundT. It is virtually impossible to attempt a unitary characterization of nonfictional prose.
The concern that any definition is a limitation, and perhaps an exclusion of the essential, is nowhere more apposite than to this inordinately vast and variegated literature. Ever since the ancient Greek and Roman philosophers devised literary genressome critics have found it convenient to arrange literary production into kinds or to refer it to modes.
Elements Obviously, a realm as boundless and diverse as nonfictional prose literature cannot be characterized as having any unity of intent, of technique, or of style. It can be defined, very loosely, only by what it is not.
Many exceptions, in such a mass of writings, can always be brought up to contradict any rule or generalization. No prescriptive treatment is acceptable for the writing of essays, of aphorisms, of literary journalismof polemical controversy, of travel literature, of memoirs and intimate diaries.
No norms are recognized to determine whether a dialoguea confession, a piece of religious or of scientific writing, is excellent, mediocreor outright bad, and each author has to be relished, and appraised, chiefly in his own right.
But other equally significant English essayists of the same century, such as Charles Lamb or Walter Pateror the French critic Hippolyte Taineunder an impassive mask, loved too, but differently. Still other nonfictional writers have been detached, seemingly aloof, or, like the 17th-century French epigrammatist La Rochefoucauld, sarcastic.
Their intensity is of another sort. Reality and imagination Prose that is nonfictional is generally supposed to cling to reality more closely than that which invents stories, or frames imaginary plots.Famous biography wesite list all famous biographies of famous people around the world. You can find thousands of famous people biography here and learn about their life and know their information such as birthdate, birthplace, birthname.
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Excerpt from The Library of Oratory, Ancient and Modern, Vol. 10 of With Critical Studies of the World's Great Orators by Eminent Essayists Illiam tecumseh sherman, a distinguished American officer in the lvar of the Rebellion, was born at Lancaster, O., Feb.
8, Author: Chauncey Mitchell Depew.
The Library of Oratory, Ancient and Modern, With Critical Studies of the World's Great Orators By Eminent Essayists, Vol. 5 of 15 (Classic Reprint) Paperback – July 21, Catalog Record: The International library of famous literature: selections from the world's great writers, ancient, mediaeval, and modern, with biographical and explanatory notes and with introductions | Hathi Trust Digital Library.
Shakespeare's famous love story Romeo and Juliet, They are often intended to be persuasive or inspiring, such as the speeches given by skilled orators like Cicero; they might be novelists or essayists.
Influential and respected writer/critics include the art critic Charles Baudelaire.