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Literature Art – Where Visual and Written Language Meet

The visual and literary arts are connected. However, that may lead to some questions. What is art? Is literature art? What is an example of literary arts? All of these questions, and far more, will be elaborated on over the course of this discussion, and we will examine and explore a great many questions and aspects of this throughout this article. If you are interested in this topic and want to know about literature in art and art in literature, keep reading to find out more!

Table of Contents

• 1 Literature in Art and Art in Literature
• 2 Ancient Tales in Visual Splendor: Illuminated Manuscripts
• 3 The Renaissance Era: Humanism and Artistic Expression
• 4 Depicting Myths and Epics on Canvas
• 5 Literary Themes in Symbolism and Allegory
• 6 Artistic Book Covers and Illustrations: Enhancing the Reading Experience
• 7 The Art of Literary Portraits
• 8 Modernism and the Avant-Garde: Breaking Boundaries
• 9 Surrealism: The Fusion of Dreams and Words
• 10 The Intersection of Poetry and Abstract Art
• 11 Art Inspired by Classic Literature: Shakespeare, Cervantes, and More
• 12 The Written Word As Art: Calligraphy and Typography
• 13 Contemporary Art and Literary Themes: Challenges and Diversification
• 14.1 What Is Literature?
• 14.2 How Are the Visual Arts Used in Literature?
• 14.3 When Did Visual Arts Start Being Used in Literature?
• 14.4 Is Literature Art?
• 14.5 Are Books Considered Art by the General Public?

Literature in Art and Art in Literature

The relationship between the visual and literary arts has been a long-standing one, and that is what we will explore today. They have influenced one another to lead to a prevalence of literature in art and art in literature as they form a reciprocal relationship with one another. And this relationship has passed its way through the centuries to arrive at the present moment in time. So, let’s get started and have a look at how these two mediums have influenced one another over the years.

Ancient Tales in Visual Splendor: Illuminated Manuscripts

There has long been a connection between the visual arts and the literary arts, and the connection may even be longer, but we cannot know for certain. Some of the oldest visual arts are paleolithic cave paintings that appeared on the walls of the cavernous dwellings in which humans resided before we were capable of creating our own permanent structures. Those ancient humans left behind no written language, but if more historically recent oral traditions are any indication, visuals, and narratives can often coexist.

The visuals depicted upon a surface serve as a way of telling a story when writing did not exist, but performances or oral recitations could have accompanied those ancient cave paintings.

We will never know for sure, but what we do know is that some of the oldest examples of writing are accompanied by illustrations. Some of the oldest manuscripts that we have found are also illuminated manuscripts. These manuscripts started to be produced around the 5 th century when the production of parchment and similar materials had become more available to those who were able to write. In some of the most ancient written sources, such as ancient Greek tablets, writing would often be somewhat laborious, and so the writing alone was all that could be produced. However, once the creation of paper and similar writing materials had become more widespread, it became possible to illustrate what was written on the page.

Many of these ancient manuscripts also include calligraphic lettering, which is an artform all on its own, but that will be discussed in more detail later in this article. However, these kinds of manuscripts were not exactly available to the general population as reading materials were not yet mass-producible, and, as a result, they were typically only available to a select few people. This is why many of the oldest illuminated manuscripts focused on topics such as religious narratives or scholarly pursuits, such as history, culture, and philosophy.

The fascinating aspect of these illuminated manuscripts is that the intricate nature of the calligraphic lettering was accompanied by stunningly detailed imagery that was often vividly colorful to accompany the words. Many of these images used a variety of influences, such as pulling from Romanesque, Byzantine, and Islamic sources while often making use of symbolic meaning that would operate alongside the textual aspects.

Some of the most stunning examples of illuminated manuscripts include the Lindisfarne Gospels , which is an 8th-century illuminated manuscript that includes the four Gospels written in Latin. The monk who illustrated this work was known as Eadfrith and he made use of various images throughout this volume.

However, many of these illuminated manuscripts have unknown authors attached to them, but they do serve as an early example of literary arts combined with visual arts.

The Renaissance Era: Humanism and Artistic Expression

During the Renaissance period , the development of numerous academic and artistic fields bloomed and developed. This era was known for a great many things, such as advancements in painting, sculpture, literature, architecture, philosophy, science, and many other pursuits. It was an immensely important period in the history of European education and artistry, and it was also an important period for the convergence of literature in art.

One of the major contributions of this era in European history was the move towards humanism, and humanism would go on to influence us into the present day. Humanism entails a focus on secular humanity. We should not look to the supernatural and/or religious elements to find ways of living our lives as moral beings, and we should instead aim towards something that focuses on the human as a being that exists within the world. This led artists to strive towards depicting human emotions, experiences, and personalities in a more realistic way than had been strived for before.

This is why Renaissance visual artists such as Caravaggio and Leonardo da Vinci sought to present realistic visual depictions whereas writers like William Shakespeare and Dante Alighieri attempted to create realistic and understandable characters who were not simply allegorical.

Even when religious ideas were depicted in their works, such as Leonardo da Vinci’s famous Last Supper (1495 – 1498), which depicts the last supper of Jesus Christ, or Dante Alighieri’s Divine Comedy (1308 – 1321), which depicts the journey through the Christian afterlife, these artists still did so through a more humanist lens. It was desirable to understand the characters, their motivations, and so on, and this would become prevalent in various forms of art, including literary arts and visual arts. Humanism would also go on to instill a certain philosophy in those who were influenced by it. They would strive for greater creativity and originality than had been expressed before because works were expected to, in some way, reflect humanity back on itself.

An important thing to take note of in the history of the visual arts with regard to narratives is that even when an image is simply an image, it often has a non-verbal story to tell.

Either that or it directly relates to a verbalized narrative. Take one of the most famous Renaissance images as an example of this: The Creation of Adam by Michelangelo (1808 – 1512). This famous fresco painted on the ceiling of the Sistine Chapel has become one of the most famous images of all time, but it depicts a biblical story. It shows the creation of Adam, the first man, by a depiction of a Christian version of god. Without knowing that narrative, that piece of writing, it’s simply an old man and a younger man nearly touching fingers. It would be stripped of its context if the literary art did not exist behind it.

Depicting Myths and Epics on Canvas

Some of the most common elements of many classical paintings are their focus on mythological imagery. These images could be from long-dead mythologies, such as a fixation on Greek mythology that has been prevalent in European culture to this day, to more contemporary mythologies, such as those found in active religions like Christianity. All religions have narratives to tell, and those narratives have been repeatedly depicted on canvases and other surfaces. The Creation of Adam fresco has already been mentioned above, but various paintings depict characters from mythological narratives, such as The Birth of Venus by Sandro Botticelli (1485) or Crucifixion by Giovanni Bellini (1455 – 1460).

The depiction of figures from ancient and contemporary religions has been a clear source of inspiration for visual artists for centuries, and it can still be seen to this day. A simple reason that could be understood with regards to why so many visual artists would choose to focus on mythological narratives, which also often include examples of epic stories, such as the works of Homer, is because of an inherent connection between the completed artwork and the viewer. It is more likely that you, as a viewer, will be familiar with a story you may have already heard.

If one were to depict a character on a cross, one would likely know that it’s a Christian image, but a random character in a portrait may not hold that same connection.

One may still find it to be beautiful, but it will not attain an immediate connection in the same sense. For this reason, images have often been used to supplement literary art, such as the already mentioned illuminated manuscripts. Sometimes people pretend that “pictures in books” indicates a childlike need for images over text, but we’ve been inserting images into text for about as long as text has existed.

Literary Themes in Symbolism and Allegory

There are a variety of concepts that, while available in visual art mediums , are often considered to be the domain of the literary arts, but literary themes such as symbolism and allegory are found just as often in the visual arts. This is simply another example of literature in art and art in literature. Symbolism simply refers to something serving as a representation of something else while an allegory is a piece of art that, in some way, makes use of symbolic representations on a broad scale to tell some kind of a narrative.

Symbolism is found everywhere. Something that represents something else but technically has little or no meaning on its own is something of a basis of the academic field of semiotics, and one can find it in artistic and cultural sources throughout the world. Let’s take the example of the Christian cross as an example. It represents Christianity and, more specifically, the biblical narrative known as the Passion of Christ. However, a cross does not mean anything on its own. If Jesus Christ had been executed via some other apparatus, then the cross may never have attained the meaning that it now possesses. It has no meaning on its own, we have given it a deeper symbolic meaning.

For this reason, various symbols are often in plain sight in many examples of visual arts. Something like Starry Night by Vincent van Gogh (1889) presents a symbolic representation of the starry sky that was influenced by emotion rather than realistic depiction. When viewing something like Starry Night , one can immediately identify what it is, but it does not actually look like a starry night. A photograph of a starry night would have considerably less personalized emotion dripping out of it, but we see what someone was thinking when they paint something like that.

There are also examples of highly allegorical visuals being used as a supplement for narrative stories.

Perhaps the easiest example, in the present day, of “literature in art” is the graphic novel. One of the most famous instances of this medium from an allegorical perspective is Art Spiegelman’s Maus (1980 – 1991), which depicts the life of a Holocaust survivor. However, the Jewish people are portrayed as rats while the Nazis are portrayed as cats. We fundamentally understand the long-running relationship between cats and rats as the former is the hunter of the latter, and so this depiction is a powerful allegorical one. It was not strictly necessary to depict it this way, but the symbolic layers add to the narrative and the visual art.

Artistic Book Covers and Illustrations: Enhancing the Reading Experience

Once upon a time, book covers were relatively dull. Ancient texts were generally leather-bound tomes with the title scribbled onto the front of it. However, that has changed in more recent decades. It has now become practically mandatory for a book to have a cover of some kind, and the better the cover, the more likely one may be to pick up said book. We are all told to never judge a book by its cover, but if something has a terrible cover, then those who were in charge of publishing said book likely didn’t know what they were doing. So, can you really trust them?

Obviously, one does not actually need a pretty cover, but it has been found that a cover can catch someone’s attention and perhaps even get them to purchase said book. Literature in art and art in literature are two-way streets with one another. A good cover can heighten a work that already exists and present the potential reader with something special. For instance, many of the covers of something like Alice’s Adventures in Wonderland by Lewis Carroll (1865) will include whimsical illustrations that match the contents of the book.

Which is essentially a visual way of saying: “Hey, do you want to see what story matches this cover?”

The Art of Literary Portraits

One of the most fascinating things about the literary arts is that many people, even though they are simply reading a text when reading something like a novel, still often want to see what the author looks like. In the old days, this could mean including a print that represented the author, but it is far more common in the modern age for photographs to be affixed to a number of different books. Some of the oldest of these kinds of portraits would often exist to simply present the reader with a distinguished image of the writer, but in more recent years, it has become a personalized aspect.

For instance, it is common for many novels to feature an author’s photo on either the cover or on the sleeve, and this photograph will often be taken by a professional photographer. However, there are also instances of author portraits being something like those in Stephen King’s novels. The author’s portraits in his novels are taken by Tabitha King, his wife, and this adds an extra layer of personality to that image.

It wasn’t done in a stuffy studio; it was done by someone whom that author loves. We like to see the people we are reading.

Modernism and the Avant-Garde: Breaking Boundaries

Literature in art and art in literature is a fascinating thing because they often operate alongside one another. When the visual arts experiment, so do the literary arts, and vice versa. When movements arise, they often operate alongside one another. This can be seen in the various movements that were birthed during the modern period, such as Modernism and Avant-Garde literature alongside Cubist and Surrealist visual arts. Every form of art has its own experimentation, but one can often see distinct similarities between various artforms in their historical development.

Modernist literature, and the resulting philosophy that came with it, emphasized a new kind of narrative presentation that was based on a more personal form of expression. This could be seen in narrative techniques such as stream-of-consciousness stories, nonlinear narratives, and free verse poetry. All of these literary arts focused on the inherent complexity and difficulty of living with a subjective existence, and feelings such as these transferred to the many artists who operated along similar lines.

The very nature of the avant-garde movement is that there were attempts at doing something new, and this is why one can see aspects of literature in art and philosophy in art when artists such as Marcel Duchamp presents a readymade urinal as a sculpture.  All he has done is sign the urinal and named it Fountain (1917), but this porcelain urinal asks us a question. It questions us and challenges us about what can and cannot be considered a piece of art. It speaks to us. It tells the story of art creation, appreciation, and critique.

It forces us to think about these topics, to tell our own stories, and to try to understand metaphysical questions like: “What is art?”

While issues and questions such as these are not for everyone, they certainly did lead to extensive collaboration between visual artists and writers over the years. There have been numerous instances of individuals from across different mediums working with one another on each other’s work and on new projects. For instance, a number of individuals are forced to collaborate with one another in the inherently modern medium of film as it cannot ordinarily be created alone.

Surrealism: The Fusion of Dreams and Words

One of the biggest artistic influences of the first half of the 20th century was the Surrealist movement . While there were many famous visual artists who engaged in this particular form, surrealism would become closely associated with the literary arts too. The fundamental way in which surrealist visual arts imagined a world that was distorted and changed from reality is one that had a major influence on writers.

Many surrealist paintings would go towards an image of dreamlike imagination. They would explore the immensely subjective and the illogical or even disturbing. Visual artists who painted in the Surrealist tradition created many techniques to exhibit ideas such as fragmentation, juxtaposition, and repetition. These kinds of themes would go on to influence writers.

Perhaps one of the most famous examples of a surrealist text is The Metamorphosis by Franz Kafka (1915). This text produces vivid imagery as the protagonist of the narrative, Gregor Samsa, awakes one morning to find that he has been transformed into an insect-like creature of some kind. He does not wonder how this has happened. Instead, he is only concerned that his new state of being will lead to him being late for work. The surreal imagery and the absurd worries lead one towards a truly bizarre yet powerfully philosophical tale that cannot help but both require and refute visual representation. Kafka himself was against depicting the creature, but visuals abound today.

One cannot help but wish to see a visual representation of the creature that was once Gregor Samsa.

The Intersection of Poetry and Abstract Art

Poetry has a bit of a reputation. While there certainly are poems that are very clear with what they want to say, many are not. Perhaps some of the best examples would be the immensely complex poems such as T.S. Eliot’s The Wasteland (1922), which requires complex research and reading to understand it (and even then, you may be wrong). Examples such as this, and many shorter and more emotive poems, are quite abstract in their approach.

Abstract art also tends to have a bit of a reputation with certain people because it frequently receives the complaint that “I could have done that”. However, this is not actually the case. Most would not be able to produce an abstract work regardless of the derision, but abstract works, in both visual and literary artforms, are not necessarily intended to be directly representative of something tangible. It expresses a feeling, an idea, an emotion. Sometimes, the abstract can be incomprehensible, but the world is often incomprehensible. Especially the more you learn about it. Non-representational images or words can allow us to project ourselves onto something, to perhaps see what we want to see, or even what we need to see.

In this, the abstract visual and literary arts can be in unison with one another.

Perhaps one of the best poets to make use of more abstract representations, as well as instilling an inherent visual component in his work, was ee cummings. This figure made fascinating use of typography, the shape of the poem itself, to create a certain jarring feeling in the reader. Playing with space allows for something new and unique to exist, and even if you do not directly understand it in the traditional sense, you can still feel something because of it.

Art Inspired by Classic Literature: Shakespeare, Cervantes, and More

It is impossible to overstate the immense influence of various instances of literature that have become sources of inspiration for artworks. A powerful example of literary arts can easily transcend a medium and lead visual artists to attempt to depict it. We have already discussed how this is the case with various religious texts and such, but it is also the case with numerous writers of fiction.

Characters and events from narratives like William Shakespeare’s Hamlet (1599 – 1601), Miquel de Cervantes’ Don Quixote (1605 – 1615), and George Orwell’s Nineteen Eighty-Four (1949) have inspired countless artworks and other pieces of literature. Dystopian imagery in general is basically always a callback to Orwell’s classic tale, depictions of windmills are often used to call attention to the themes of Cervantes’ classic text, and the image of a woman drowning can often be used as a reference to Ophelia from Hamlet . These literary artworks and many others have served as direct inspiration for many different instances of visual arts. They often have a kind of timeless appeal that allows them to be repeatedly used and iterated upon.

The themes in these texts continue to inspire, and they will likely continue to inspire well into the future.

The Written Word As Art: Calligraphy and Typography

We can often get caught up in questions like, “Is literature art?”, but what about writing itself? Is one’s handwriting not a possible medium for a form of artistic expression? We all know about people with terrible handwriting, but we also know about those with gorgeous handwriting. Those skilled in calligraphy can make simple writing into something gorgeous. In addition, calligraphy has been used as an artform on its own since ancient times.

Today, calligraphy may not have that same level of prestige that it once held, but it has continued to be a way to express oneself through something as seemingly mundane as writing down a few notes or a letter. Calligraphy has also gone on to inspire more modern typography in design, and design is certainly a form of visual art. So, not only have narratives inspired pieces of visual art, but there is literally literature in art in the form of the words themselves and how they have been calligraphically produced.

Contemporary Art and Literary Themes: Challenges and Diversification

Art and literature, as has been discussed extensively throughout this article, have always existed in a relationship with one another. As has been stated, there is art in literature and literature in art. This has not changed in the present day. Art is still used in many cases to explore literary narratives or themes. The proliferation of fan art in online spaces is a good indication of this. When someone makes a landscape inspired by The Lord of the Rings , they are inherently evoking that narrative for their imagery. They are attaching themselves to that other medium.

In fact, many contemporary digital artists essentially get their start by creating their own versions of existing literary characters and events.

Although this may require a further expansion on the definitions of “literature” to include other narrative artforms in other mediums, such as film and video games. However, the internet is full of these transformative pieces, and this can allow one to attain an audience by tapping into an existing audience and then transitioning further into original materials.

Perhaps the easiest way to see this is in music. Practically every band starts out by doing covers of popular songs, and once the band itself has gained enough of a following, it can start performing its own music while retaining an audience. This shared artistic world in which various mediums interact with one another is a perfect example of the way in which various artforms are simply working in tandem with one another, and so a separation into what is art and what is not art being ultimately futile questions. We like to ask questions like, “Is literature art?”, but the answer does not ultimately matter if people are treating it as a form of art.

In addition to this, many contemporary artists tend to be in favor of collaboration as well as tackling various topics that are worth exploring. While ancient art may have become fixated on religious imagery as something to connect with people, contemporary artists often situate their art around political and social questions. Social justice is an especially prevalent topic in many visual and literary arts.

With that final point, we come to the conclusion of this look at literature in art and art in literature. These concepts are in a reciprocal relationship with one another. We may ask ourselves questions like, “Are books considered art?”, but as there is art in literature and literature in art, this becomes a less pressing question. They are all art, and they are all literature, in a sense. Today, we looked at a number of different forms of art and how they intersect with other mediums. We took examples of literary arts and used them to discuss the visual and literary arts in far more detail. So, hopefully, you will go away from this response with a greater appreciation for art in literature and literature in art.

Frequently Asked Questions

What is literature.

Literature is an incredibly broad term, but it essentially refers to a number of different mediums through which oral, but generally written expression, is told. Literature includes forms such as prose , poetry, drama, and certain other artforms that can be deemed to be literary in some sense. For instance, films make use of narratives, and narratives are typically the domain of prose. So, one could argue that film is a literary art. However, other artforms are incorporated into it.

How Are the Visual Arts Used in Literature?

Visual arts can be used in the literary arts through many different means, such as through illustrations. However, there is a long-standing relationship between practically every artistic form, as they all influence one another. There is literature in art, art in literature, literature in music, and so on. For instance, many classical composers were influenced by existing narratives. The same is true of literature and the visual arts.

When Did Visual Arts Start Being Used in Literature?

It is possible that ancient cave paintings would have included performative components that entailed narratives. However, as the oral tradition in literature predates the written word by a very long time, we cannot know this for certain. However, the earliest writing systems could also be called visual arts, such as ancient Egyptian hieroglyphics. Even later writing systems, such as the two main Japanese syllabic alphabets, were designed to be aesthetically appealing.

Is Literature Art?

This is often a particularly loaded question. It depends on whom you ask and how you were to define terms like art . If one were to only define art as a visual expression, then only images are artforms. However, if the term art instead refers to creative expression by human beings, then the category of art increases to include a number of other mediums, such as literature, film, music, video games, and many others.

Are Books Considered Art by the General Public?

This question may seem similar to the above, but it is actually different. One could argue about the definition of art from a metaphysical perspective and debate the parameters of what is and is not art, but in common usage, the term art usually refers to visual arts. We call paintings art and we call books literature. However, if one were to start a debate about this, then definitions could change.

Justin van Huyssteen is a freelance writer, novelist, and academic originally from Cape Town, South Africa. At present, he has a bachelor’s degree in English and literary theory and an honor’s degree in literary theory. He is currently working towards his master’s degree in literary theory with a focus on animal studies, critical theory, and semiotics within literature. As a novelist and freelancer, he often writes under the pen name L.C. Lupus.

Justin’s preferred literary movements include modern and postmodern literature with literary fiction and genre fiction like sci-fi, post-apocalyptic, and horror being of particular interest. His academia extends to his interest in prose and narratology. He enjoys analyzing a variety of mediums through a literary lens, such as graphic novels, film, and video games.

Justin is working for artincontext.org as an author and content writer since 2022. He is responsible for all blog posts about architecture, literature and poetry.

Learn more about Justin van Huyssteen and the Art in Context Team .

Cite this Article

Justin, van Huyssteen, “Literature Art – Where Visual and Written Language Meet.” Art in Context. November 3, 2023. URL: https://artincontext.org/literature-art/

van Huyssteen, J. (2023, 3 November). Literature Art – Where Visual and Written Language Meet. Art in Context. https://artincontext.org/literature-art/

van Huyssteen, Justin. “Literature Art – Where Visual and Written Language Meet.” Art in Context , November 3, 2023. https://artincontext.org/literature-art/ .

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Exploring the intersection of literature and the visual arts

Do you look at a painting and see the story behind it ? Can a photograph capture an entire universe of emotions ?

From Renaissance masters to modern photographers, many artists find inspiration in literature. Or they explore how reading and writing interact with other art forms. In this post, we’ll uncover the connection between these two seemingly disparate worlds, literature and visual arts! Join us as we trace how authors’ work can shape how painters think and vice versa.

The Relationship between Visual Art and Literature

Visual art and literature have gone hand-in-hand since the days of cave-dwelling men scratching symbols on stone walls. The relationship between these two types of art has changed over time. However, it has never been more symbiotic than it is today.

Visual artists often find significant influence from literature, creating masterpieces that explore themes from their favorite stories. Likewise, literature is widely inspired by images! This can range from singular portraits to whole photography collections.

Plus, with the advent of interactive media, authors are exploring new ways to tell stories through imagery. 

How Text and Image Can Enhance Each Other

Combining text and images to summarize something can be incredibly powerful, as evidenced by the book “Unbroken.” This is a World War II biography by acclaimed author Laura Hillenbrand that tells the story of US airman Louis Zamperini. This Olympic athlete was first a prisoner of war. You can find an  unbroken summary  online and scam through it.

It will help you understand this concept in more depth. The impactful cover design and description for this book effectively convey the struggles Zamperini encountered through the war and during his time in Japanese interrogation camps.

This strengthens the book’s tone and provides further context around Zamperini’s life journey, making it more meaningful than words alone could describe. This fantastic work proves that images combined with words can be worth more than a thousand words.”

Examining Literary Devices Used in Visual Art

Just like writing, visual art can also be comprised of a myriad of literary devices. From personification to foreshadowing, artists may choose to strategically use some of these techniques. They do this to create an experience for their viewer. In today’s world, being conscious about what kind of messages are being conveyed is extremely important. Through careful consideration and attentive looking, we can glean as much from a painting as we would from a piece of writing!

Exploring the Use of Imagery to Express Ideas

Imagery can be a powerful tool for expressing ideas and emotions. Pictures can often say more than words, providing an unforgettable impact. With the right combination of imagery, one does not need to say anything! It is for this very reason that it has become an increasingly popular writing style. Many poets, authors, and even songwriters seek to enhance their storytelling ability with a visual impact. In fact, using imagery can make us experience the emotions within the work. This, rather than just understanding them. 

Adapting Literary Works into Visual Media  

We can thank Hollywood for recognizing the timeless power of a good story! We can also thank them for bringing it to life on the big screen. Great works of literature are adapted into visual media for their captivating stories, relatable characters, and compelling morals or questions.

Film adaptations keep these classic tales alive in new generations. They make them accessible to those who don’t have time to read an entire novel. Sure, purists might scoff at the liberties taken with beloved book-to-screen adaptations. But even they can agree that cinema is an excellent avenue for keeping these beloved stories relevant. They are inspiring future readers!

Creative Uses of Visual Art to Illuminate Literary Concepts

It’s almost a cliché at this point. Replacing a dry textbook description of literary concepts with some vibrant artwork to help show the same idea differently. Teachers everywhere have been bringing visual art into their classrooms for years now. More and more people realize that having something interesting to look at only makes complex topics easier to understand. It also helps keep students engaged. Creative uses of visuals to support how we think about literature can be anything from painting renditions of certain passages or characters to finding ways to make abstract ideas tangible . It may even spark something truly original within the students as they are given an opportunity to bring their own creative interpretation into what they are learning. After all, didn’t any great work of literature begins with someone drawing inspiration from somewhere?

To summarize, the relationship between visual art and literature is fascinating. This substantial union allows for a creative expression of ideas through the combination of text and image that further emphasizes story-telling and engenders an emotional response in viewers. Whether one is adapting literary works into visual media, examining literary devices used in visual art, or exploring the use of imagery to express ideas, all these can be incredibly fulfilling endeavors. 

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Honoring Mary Ann Carroll First Lady of the Highwaymen

Art and Literature 

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

Art and Literature are bound together in several ways. Great works of art have inspired great works of literature, great works of literature have inspired art, and together art and literature have simultaneously represented similar movements. Art and literature can be seen weaving around each other, influencing one and another, and being used as a tool to teach students about liberal arts and humanity.  Although the works I have selected range from several genres and five centuries, they are related because they refer to great works of literature.  All of these works have been used in my literature classrooms as tools to understand specific works or movements.  No matter how different they are, they aid in understanding the written world through visual imagery. https://www.youtube.com/watch?v=l3wz9wg0Dos The video that I have chosen shows an artist going through the steps of creating an expressionistic work.  This was important to me because the steps that he was taking reminded me very much of the steps that I as an English literature major were taught in creative writing when working through drafts of a written work.  It also shows expressionism which is still a very popular style and can be seen in my favorite writings, particularly great American plays. 

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• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

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The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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The authors' selection of themes and titles comprehensively represents contemporary research on the intersections among literary studies and other disciplines. A valuable resource for scholars and general readers thanks to its diversity and the relevance of the problems it discusses. Miroslawa Buchholtz, Mikolaj Kopernik University, Torun

About the Author

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Art and Literature

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The Intersection of Art and Literature: Exploring the Connections Between Two Creative Forms

P Abigail Sadhana Rao

“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.”

― Leonardo da Vinci

Art and literature are two creative forms that have been intertwined throughout history. Both forms of expression seek to explore the human experience, conveying emotion and meaning through the use of language and imagery. In this blog post, we will explore the connections between art and literature, examining how these two forms of expression intersect and influence one another.

Visual Storytelling in Literature

Literature often involves visual storytelling, with writers using vivid descriptions and imagery to create a world that readers can visualise in their minds. This visual storytelling can be seen in works of fiction like J.R.R. Tolkien’s “The Lord of the Rings” trilogy, where the author’s detailed descriptions of Middle-earth bring the world to life. The visual imagery of literature can also inspire visual art, with artists like Gustave Doré and John Tenniel creating illustrations for classic works of literature like “The Divine Comedy” and “Alice’s Adventures in Wonderland.”

Literary References in Visual Art

Literature has also influenced visual art, with many artists drawing inspiration from literary works. For example, in the 19th-century masterpiece by Millais , the artist explores Shakespeare’s Hamlet, presenting the poignant figure of Ophelia. Driven to madness after her father’s murder by Hamlet, the painting captures Ophelia in a haunting moment of serenity before her tragic drowning. Millais’s acclaimed artistic skill, particularly the realism in the landscape, distinguishes this portrayal. It stands as one of numerous interpretations immortalising Ophelia’s tragic narrative. The connection between literature and visual art can also be seen in the work of contemporary artist Nina Chanel Abney, who often incorporates literary references and themes into her vibrant and colourful paintings.

Collaborations Between Artists and Writers

Collaborations between artists and writers have resulted in some of the most iconic works of art and literature. For example, the famous collaboration between pop artist Andy Warhol and writer Truman Capote, who worked together on the magazine Interview in the 1970s. In 1969, Salva dor Dal í embarked on a captivating collaboration with Lewis Carroll’s timeless tale, Alice in Wonderland. The result was an extraordinary suite of illustrations that swiftly became one of the most coveted Dalí collections.

Art and Literature in Contemporary Culture

In contemporary culture, art and literature continue to intersect and influence one another. For example, graphic novels like “Watchmen” by Alan Moore and “Maus” by Art Spiegelman combine visual art and storytelling to create a unique and powerful form of expression. The intersection of art and literature can also be seen in the work of contemporary artists like Kara Walker and Jeff Koons, who incorporate literary themes and imagery into their work.

Impact on Society

The intersection of art and literature is important in society because it allows us to explore and express the human experience in different ways. Both forms of expression can challenge societal norms and provoke thought and reflection. By bringing together different creative forms, we can create new and innovative ways of understanding and interpreting the world around us.

Art and literature have a long history of intersecting and influencing one another. Whether it’s visual storytelling in literature, literary references in visual art, collaborations between artists and writers, or the importance of art and literature in contemporary culture, the connections between these two forms of expression are undeniable. As we continue to explore the intersection of art and literature, we can expect to see new and exciting developments that push the boundaries of both creative forms, contributing to the growth of art and literature.

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Late Style and its Discontents: Essays in art, literature, and music

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This interdisciplinary collection of essays investigates the concept of ‘late style’ as a category for addressing art, literature, and music produced either in old age or in the proximity of death. The volume interrogates the assumptions that underpin the idea of ‘late style’ by way of a critical, comparative examination of the genealogy and philosophical and psychological underpinnings of the concept, and by analysing case studies of writers, artists, and composers to whom a ‘late period’ has been attributed. These include Austen, Beethoven, Darwin, Goethe, Hamburger, Lawrence, Monet, Mann, Nietszche, Oppen, Picasso, Ravel, Rossini, Schubert, Shakespeare, and Titian. Together, the contributors—who include leading art historians, literary critics, and musicologists—raise key questions about ‘late style’ as a category, and work towards a taxonomy of lateness that can adequately encompass the range of possibilities grouped under the general heading ‘late’. In the process—and in many cases by assessing the accounts of lateness by Theodor Adorno and his disciple Edward Said—they reflect on the extent to which lateness is a modern category, one that both highlights and obscures the nature of modernity. The essays together suggest that it is impossible to read late style as a transhistorical, transcultural phenomenon; rather, late style is an idea that is, like all such critical constructs, contingent, complicit, and culturally invested; it has emerged from the history of the idea of ‘genius’ and persists in shaping the way in which we view the relationship between old age and creativity.

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Literature and Arts in Historical Context - Updated: Art

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1.1: What is Literature?

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• Heather Ringo & Athena Kashyap
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Defining Literature

In order for us to study literature with any kind of depth, first we must decide what constitutes literature. While works like William Shakespeare’s Romeo and Juliet and Harper Lee’s To Kill a Mockingbird are almost universally accepted as literature, other works are hotly debated, or included or excluded based on the context. For example, while most consider Toni Morrison’s Beloved literature, others debate whether more recent publications such as David Mitchell’s Cloud Atlas or Rupi Kaur’s Instagram poetry constitute literature. And what about the stories told through tweets, like Jennifer Egan’s “Black Box” ? What about video games, like Skyrim , or memes, like Grumpy Cat?

Students often throw their hands up in the air over such distinctions, arguing literature is subjective. Isn't it up to individual opinion? Anything can be literature, such students argue. At first glance, it could seem such distinctions are, at best, arbitrary. At worst, such definitions function as a means of enforcing cultural erasure.

However, consider a story about Kim Kardashian’s plastic surgery in People Magazine . Can this be considered on the same level of literary achievement as Hamlet ? Most would concede there is a difference in quality between these two texts. A blurb about Kim Kardashian’s latest plastic surgery, most would agree, does not constitute literature. So how can we differentiate between such works?

Literature vs. literature

As illustrated in the somewhat silly example above, one way we can define what constitutes literature is by identifying what is definitely not literature. For our intents and purposes of defining most terms in this textbook, we will use the Oxford English Dictionary ’s definitions. Many professors who teach Literature use the concept of Big L Literature vs. little l literature (Rollison).

While the definition of little l literature is fairly easy to understand and apply, the definition of Big L Literature remains amorphous. What makes a work “artistic”? How do we define “superior” or “lasting”?

Let’s break down some of the defining qualities of literature in a bit more detail, starting with the word “artistic.”

Exercise 1.1.1

Consider the following works of art. Which of these images do you feel is higher quality or more “artistic”? Which is lower-quality or less artistic? Why? Justify your position by analyzing the elements of each artwork.

While there may be some debate, most students usually respond that Friedrich's painting is more artistic. This is due to several composition differences between the two works:

• Artist’s skill: it certainly appears as if the first image was produced by an artist with superior skill
• Fame: for anyone who knows art history, the first image is famous while the other is not
• Lasting quality: the first image has survived the test of time, remaining popular over two hundred years!
• Meaning: the first image likely conjures deeper feelings, themes, or ideas, such as isolation and the primacy of nature. This is why this image has become the face of Romanticism.

But what about the images demonstrate the artists’ superior skills? While the second image appears to be produced with a simple doodle, and quickly composed, the first indicates more complexity, attention-to-detail, and craft. Freidrich leverages different colors, textures, shapes, and symbols to evoke a feeling in the viewer. Skilled artists will use different techniques, like the way they move the paintbrush, the pressure they exert or the direction of the brush. They will use textured paintbrushes for a specific effect, such as the difference between the light fluffy clouds and dark mountain rocks. They will use different color pallets to project, as accurately as possible, the feelings they are trying to evoke. In short, while anyone can paint, true artists leverage many different skills, techniques, and materials to render what is in their imagination into a real-life product.

So how does this relate to our attempts to define literature?

Literature is art, but with words.

While the artist uses different colors, paintbrushes, mediums, canvases, and techniques, the writer uses different genres and literary techniques called literary devices . Just like different types of paint, paintbrushes, and artistic tools, there are literally hundreds of literary devices, but some of the most common are metaphor, simile, personification, and imagery. Genre is the type or style of literature. Each genre has its own conventions. Literary genres include creative nonfiction, fiction, drama, and poetry . Works that are literary tend to masterfully use genre conventions and literary devices to create a world in the mind of the reader. Works that are less literary tend to be for practical and/or entertainment purposes, and the writer dedicates less focused energy towards artfully employing literary devices.

However, just because a work is not as literary as another does not mean it cannot be enjoyed. Just like a stick figure or cartoon character might be perfectly fine if intended for a particular audience or purpose, readers can still enjoy People Magazine even though it is not of the same literary quality as Hamlet .

So, to use an example from earlier:

While some literature falls into clear designations of literature or not literature, most works are open to debate. Given the sometimes difficult task of determining whether a work falls into one camp or the other, it may be more helpful to think of Literature less as a dichotomy than a spectrum, with popular magazines on one end and works like Hamlet and Beloved on the other, and most written works falling somewhere between the two extremes.

The Literary Spectrum

This spectrum can be a helpful way to think about literature because it provides a more open-ended way to discuss writing as art than simply labeling works as literary or not. After viewing the above chart, why do you think popular magazines and a Calculus textbook are considered "less literary"? In terms of popular magazines, they do not fit the definition of literature as "lasting" in the sense that they usually fade from relevancy quickly after publication. Additionally, the authors of such magazines are striving for quick entertainment rather than leaving a meaningful impression on the reader. They tend not to use literary devices, such as metaphor, in a masterful way. On the other end, Shakespeare's Hamlet definitely fits the definition of "lasting," in that it has survived hundreds of years. It is full of literary devices used for rhetorical effect and, one would argue, it touches upon deep themes such as death, the afterlife, murder, vengeance, and love, rather than trifling issues such as a starlet's most recent plastic surgery.

Certainly, works of literature are up for debate: that is the quintessential question literary scholars might ask. What makes certain literary works survive the test of time? What makes a story, poem, or drama "good"? While literary scholars are less interested in proving a certain work is "good" or not -- and more focused on analyzing the ways to illuminate a given work -- it can be helpful for you to consider what kinds of literature you like and why you like it. What about the way it was written causes you to feel the way you do about it?

Who Decides What is Literature?

Now that we have at least somewhat clarified the definition of literature, who decides what works are or are not literature? Historically speaking, kings, queens, publishers, literary critics, professors, colleges, and readers (like you!) have decided which works survive and which works do not.

Aristotle was one of the first writers to attempt to decide what works fall into the category of literature, and what works do not. While Aristotle was most famous for his contributions to science and philosophy, he is also considered one of the first literary critics. A literary critic is a person who studies and analyzes literature. A literary critic produces scholarship called literary criticism . An example of this would be Aristotle’s Poetics , in which he identifies the defining qualities of a “good” Tragedy. Aristotle’s analysis of Tragedy was so influential that it is still used today, over two thousand years later!

When a work is officially decided to constitute literature, it enters something called the Canon. Not to be confused with the large metal tube that shoots bombs popular in the 16th through the 19th centuries (cannon), the Literary Canon is a collection of works that are considered by the powers that be to constitute literature. A work that falls into this designation is called canonical. So, to use an example from Aristotle’s Poetics , Aristotle defined Sophocles’ Oedipus Trilogy as the pinnacle of the Tragic Genre. From there, in part due to Aristotle's influence, Greek society valued Oedipus so much that they kept discussing, reading, referencing, and teaching it. Thus, it became a kind of shining example of the Tragic Canon, one which has lasted thousands of years and continues to be read and lauded to this day. Other tragedies, fairly or not, are often judged on their quality in comparison to Sophocles' works. Wild to think that someone who died thousands of years ago still influences what we consider literature today!

Memes and Video Games: Today's Literature?

All this talk of thousands-of-years-old texts might seem out of touch. A lot of people think "old and boring" and literature are synonymous. Students are often surprised to hear that comic books and video games can arguably be considered literature, too. There are plenty of arguments to be made that comic books, such as Maus by Art Spiegalman (1991) or Fun Home by Alison Bechdel (2006) are literature. Cutting edge literary scholars argue video games like Kentucky Route Zero by Cardboard Computer (2015) can be considered literary. There is also literature that is published in tweets, like Jennifer Egan's "Black Box" (2012). Some might even consider memes literature!

Generative question: do you think memes can be literary?

A meme is an image or video containing cultural values or ideas, often represented through allusion (implied reference to another work, without naming that work or its author). Memes can spread rapidly spreads through social media. Why? Because the best ones are #relatable; that is, they speak to a common human experience.

Usually memes take the form of text superimposed on an image. For example, the meme above conveys the dramatic reaction students sometimes give when I assign an essay. This is done primarily through a literary device called hyperbole , or exaggeration for rhetorical effect. It conveys its message comically through certain conventions that come along with the meme genre, such as the syntactic structure "me, a [insert noun]" and asterisks, which convey action. Just like in the Shakespearean drama, the colon indicates what each character (me and the students, in this case) is saying or doing. My chihuahua's face looks silly and very dramatic. Through this use of image, text, format, and convention, the meaning I intended to convey was that I was making fun of my students for being over-dramatic about what to me seems like a fairly simple assignment. While some might dismiss memes as shallow, when you start to unravel the layers of meaning, they can actually be very complex and even, dare I say, literary!

Think about a recent meme you have seen, or your favorite meme of all time. Imagine explaining this meme to someone who has no idea what it means. What is the message or idea behind the meme? What cultural reference points does it use to convey its message? In what ways might this meme be considered literature? How might this compare to a short poem, like a haiku?

Not Literature

Let's say you come to the conclusion that a meme, a gossip magazine, or the Twilight Series is not literary. Does that mean you have to feel guilty and give up reading it forever? Or that it is not "good"?

Just because a work is not literary does not mean it is "bad," that it does not have value, or that one cannot enjoy it. Indeed, there are plenty of examples of written works that are on the less literary side of the spectrum but are still fun and enriching to read. Joe Dirt i s not on the same artistic level of cinema as Schindler's List , but my husband still loves watching it. Nothing Taylor Swift has produced is as deep as Tupac Shakur's "Changes" (1992) or Mitski's "Last Words of a Shooting Star" (2014), but listening to Taylor Swift is my guilty pleasure. This is all to say that whether a text is literary or not is not as important as the methods of analyzing texts. In fact, texts which were excluded from literature are often argued into the literary canon through such analysis. Part of what makes analyzing literature so fun is that it means the definition of literature is always up for debate! This is especially important given the history of the canon.

The Problem with the Canon

In an ideal world, literature would be celebrated purely based on its artistic merit. Well-written works would last, poorly-written works would wither from public memory. However, that is not always the case. Works often achieve public prominence or survive based on qualities unrelated to skill or aesthetics, such as an author's fame, wealth, connections, or acceptance by the dominant culture. William Wordsworth, for example, was named Poet Laureate of England and has been taught as one of the "Big Six" major Romantic-era authors ever since. Indeed, he is accepted as part of the Romanticism literary canon. One would be hard-pressed to find a Literature anthology that does not feature William Wordsworth . However, how many people have read or heard of Dorothy Wordsworth , William Wordsworth's sister, who arguably depicted Romantic themes with equal skill and beauty? Or James Hogg, a Scottish contemporary of Wordsworth who was a lower-class shepherd? Similarly, while most readers have encountered F. Scott Fitzgerald or Edgar Allen Poe in their high school literature classes, how many have read Frederick Douglass in these same classes? In short, all artistic skill (arguably) considered equal, why do some authors predominantly feature in the Canon while others do not?

Let’s perform an experimental activity.

• Find a piece of paper or a whiteboard. On this piece of paper or whiteboard, write down as many works of literature that you feel constitute “Big L Literature.” Perhaps they are works you read in high school, works which have been made into films, or works you have been taught or told are literary masterworks. Don’t turn the page until you have written them down. Try to think of at least 10, but a larger sample size is better. Once you are finished, continue to the next paragraph.
• Alright, now look at your list. If you know the author of the literary texts you named, write their name next to the work. If you do not know the author, Google the information and write it down. Continue doing this until you have named the author of each work. Once you are finished, read on to the next paragraph.
• Now, as uncomfortable as it seems, label the gender/race/age/presumed sexual orientation of the authors you listed. After you have categorized them to the best of your ability, consider the following questions:
• What percentage of the authors are male?
• What percentage of the authors are white?
• What percentage of the authors are old/dead?
• What patterns do you notice? Why do you think this is?

I have replicated this experiment dozens of times in the classroom, and, in most classes, the vast majority of what students have been taught are “Literary Masterworks” are written by (pardon my colloquialism) dead white males. Although, as time progresses, it seems there is increasing but not proportionate representation on average. For example, while women make up about half of the population, over 80% of the most popular novels were written by men ("Battle"). While there are many possible reasons for this discrepancy in representation (which could be the focus of an entire textbook), what does this mean for scholars of literature? For students? For instructors? For society?

As a cultural relic, similar to art, many scholars suggest literature is a reflection of the society which produces it. This includes positive aspects of society (championing values such as love, justice, and good triumphing over evil), but it can also reflect negative aspects of society (such as discrimination, racism, sexism, homophobia, historical lack of opportunity for marginalized authors).

For example, enslaved Africans were often prevented from learning to read and write as a form of control. When Phillis Wheatley published her book of poetry, Poems on Various Subjects, Religious and Moral (1773) she had to defend the fact that she wrote it, due to popularly held racist views that slaves were incapable of writing poetry. Later, Frederick Douglass wrote about how his enslavers banned him from reading and writing, as they realized "education and slavery were incompatible with each other" (Douglass). He later championed his learning to read and write as the means which conveyed him to freedom. However, even when trying to publish The Narrative of the Life of Frederick Douglass ( 1845) his publishers were forced to prove that it was, in fact, an enslaved person who wrote the story and not a white man who wrote it for him. Slave owners actively attempted to keep this book from circulation as it threatened the institution of slavery upon which they depended. Indeed, to this day, Douglass' book continues to be banned in some prisons for its potential to incite revolution (Darby, Gilroy).

How could Black writers enter the canon en masse if they were not allowed to read or write? Or if they were forced to spend all of their waking hours working? And if those who had the means to read and write had to jump through absurd hoops just to have their works published? And if even those texts which were published were banned?

Similarly, throughout much of Western history, women have been discouraged from pursuing reading and writing, as it distracted from society's expectations for women to focus on motherly and household duties. Until the 1700s, women were not allowed to go to college. Even then, very few went: only the extremely wealthy. It was not until the 19th century that women attended college in representative numbers. Virginia Woolf wrote in A Room of One's Own that if there are fewer works of literature written by women, it is only because society, historically, has not given women the time, education, funding, or space to do so. In this extended essay, she describes an imaginary sister of William Shakespeare who could have been just as great of a writer had she the same opportunities as her brother.

I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee's life of the poet. She died young—alas, she never wrote a word. She lies buried where the omnibuses now stop, opposite the Elephant and Castle. Now my belief is that this poet who never wrote a word and was buried at the cross-roads still lives. She lives in you and in me, and in many other women who are not here tonight, for they are washing up the dishes and putting the children to bed. But she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh. This opportunity, as I think, it is now coming within your power to give her.

Woolf argues that in our time those who have been excluded from literature can now join the canon by adding their voices. The inequity of representation in literature -- which has arguably improved, but in many ways persists today -- can be remedied if more people from a wide array of backgrounds and walks of life are empowered to study and create Literature. That is one reason why the current study of literature is so exciting. As a student and budding literary scholar, you have the power to influence culture through your reading and analysis of literature! For one author and scholar's perspective on this topic, please watch this the following TED Talk by Chimamanda Ngozi Adichie to see the ways in which such misrepresentations are harmful, and why it is important to veer away from the historically parochial Canon into what Chinua Achebe calls "a balance of stories" (qtd. Bacon).

• Original video available on TED Talk website
• Transcript of video

What "single stories" do you know? What are the "single stories" people have told about you? What story would you tell if you could? What kinds of stories do you want to read? Throughout this class, you will get the opportunity to encounter many different voices and stories from all over the world. While we faced hurdles of copyright permissions, the authors of this textbook attempted to embody the values espoused in this TED Talk & Chinua Achebe's conception of the "balance of stories." As you read the textbook, consider the stories which were omitted, why they were omitted, and what works of Literature you would include in this class if you could.

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Literature and Culture

• First Online: 11 April 2019

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• Jeneen Naji 4 ,
• Ganakumaran Subramaniam 5 &
• Goodith White 6  

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Many theoretical approaches to literary studies assume that the relationship between literature and culture is an important one, in the sense that literature both reflects and is a means of reflecting on the culture in which it is produced. In defining culture, the writers describe the effects of global culture on what is read, and the notion that any literary text cannot help being a partial and biased representation of the culture it portrays. Students need to be supported in questioning the cultural assumptions made in texts and questioning stereotypes. The components of cultural awareness are explored and illustrated, and the chapter ends with a discussion of high and low culture as they apply to the texts students read.

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Department of Media Studies, National University of Ireland, Maynooth, Maynooth, Kildare, Ireland

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Naji, J., Subramaniam, G., White, G. (2019). Literature and Culture. In: New Approaches to Literature for Language Learning. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-15256-7_4

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Beyond Politics: Churchill’s Legacy in Literature and Art

This essay about Winston Churchill’s engagement with literature and the arts explores his multifaceted contributions beyond his well-known political and military career. It highlights Churchill’s achievements as a historian and author, noting his significant historical works such as “The Second World War” and “A History of the English-Speaking Peoples,” which earned him a Nobel Prize in Literature. The essay also touches on his early career as a journalist, where his vivid dispatches from the Boer War helped establish his literary reputation. Additionally, it delves into Churchill’s passion for painting, describing how this hobby provided him with a creative outlet and a means of personal reflection. Through an examination of his writings and paintings, the essay reveals Churchill as a figure deeply connected to the creative process, demonstrating how his literary and artistic pursuits offered insights into his character and enriched his understanding of the world.

How it works

Winston Churchill, a figure synonymous with wartime leadership and eloquent speechcraft, also etched a distinguished path in the realms of literature and the arts. Beyond his political and military tenure, Churchill’s literary and artistic endeavors unveil a man profoundly engrossed in the creative process, delving into history, journalism, authorship, and painting. This exposition delves into Churchill’s literary and artistic contributions, elucidating how these pursuits enriched his existence and left an enduring imprint beyond the realm of politics.

Churchill’s vocation as a historian and wordsmith perhaps stands as the most notable among his artistic quests.

His historical tomes, notably the monumental six-volume opus “The Second World War” and the four-volume “A History of the English-Speaking Peoples,” epitomize his profound grasp of history and narrative finesse. These literary creations not only provided insights into contemporary events but also afforded Churchill a medium to contemplate the broader currents of history and the human condition. His endeavors were lauded with the Nobel Prize in Literature in 1953, bestowed in recognition of his mastery in historical and biographical portrayal and for eloquent oration in championing lofty human ideals.

As a correspondent, Churchill’s dispatches from the frontlines of the British Empire’s conflicts during the turn of the 20th century thrust him into the limelight. His chronicles of the Boer War in South Africa, where he served as a war correspondent, were characterized by vivid description and a captivating narrative style. These early literary ventures not only cemented his reputation as a wordsmith but also provided a unique perspective on the events he would later shape as a political luminary.

Beyond the written word, Churchill sought solace and expression through painting, a hobby he embraced in his later years. His landscapes and still lifes, often crafted during leisure moments or amidst the tranquility away from the exigencies of public service, display a bold utilization of color and a surprising finesse in capturing his subjects. Churchill’s artworks, which he humbly referred to as “amateur” endeavors, nevertheless garnered acclaim for their caliber and emotional depth. Through his artistry, he delved into themes of serenity, introspection, and the splendor of the natural realm, providing a counterbalance to the tumult of his public career.

Churchill’s literary and artistic pursuits transcended mere pastimes or sidelines to his political trajectory; they constituted integral facets of his persona and his comprehension of the universe. His literary oeuvre and artworks offer glimpses into his character, unveiling a man who held history, narration, and the visual allure of the world in profound regard. These pursuits furnished Churchill with a creative avenue and a conduit for personal introspection, enabling him to ruminate on the past, present, and future in ways that enriched his being and endeavors.

In summation, Winston Churchill’s contributions to literature and the arts stand as a testament to the breadth of his talents and interests. His historical works, journalistic endeavors, and paintings not only enriched his personal narrative but also bequeathed a lasting legacy that continues to inspire and enthrall. Churchill’s immersion in the creative process serves as a poignant reminder that pursuits in literature and art are pivotal in comprehending our universe and ourselves, transcending the confines of politics and public duty. Through his feats in these domains, Churchill demonstrated that leadership and creativity are not antithetical but rather can mutually illuminate and inform each other in profound ways.

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[Extended Deadline] Space and Time in Literature and the Arts

THE 25th ANNUAL INTERNATIONAL CONFERENCE OF THE ENGLISH DEPARTMENT,

UNIVERSITY OF BUCHAREST

LITERATURE AND CULTURAL STUDIES SECTION

14-16 June 2024

CALL FOR PAPERS

The English Department of the University of Bucharest invites proposals for

the Literature and Cultural Studies section of its 25th Annual International Conference:

Space and Time in Literature and the Arts

University of Bucharest, Faculty of Foreign Languages and Literatures

7-13 Pitar Moș St., Bucharest, Romania

Plenary Keynote Speakers:

Christopher Herzog, Paris Lodron Universität Salzburg

Dragoș Ivana, University of Bucharest

John Thieme, University of East Anglia

Panel Stream Keynote Speakers:

Letitia Guran, University of North Carolina at Chapel Hill

Nicolas Tredell,  University of Sussex

The subject matter of inexhaustible debates and, most importantly, disputes between philosophers and scholars from diverse backgrounds, space and time have been perceived, despite their infinite or limited dimension, as inextricably connected categories underlying the existence of matter and various processes unfolding in the universe, on the one hand, and the human existence in all its aspects, on the other. Whether normatively or symbolically represented by disciplines such as physics and mathematics or employed as (visual) narrative modes by literature and the arts, space and time have been scrutinized not only as conventional abstractions, but also as concepts that can be expanded or reconfigured. From Einstein’s theory of relativity, which stands solid proof of the latter perspective, to Paul Ricoeur’s view of the narrative set in a temporal frame, it has become evident today that both categories can no longer be interpreted separately, a perspective also endorsed by Mikhail Bakhtin’s “chronotope”, a concept referring to both spatial  and  temporal relationships that are expressed in literature.

Now more than ever, in a world in which science and technology have shrunk spatial distances and bridged temporal gaps, this topic could not come at a more timely moment. Our conference seeks to explore questions related, but not limited, to:

-      the history of human life in space and time, with particular emphasis on the impact of past, present and future events upon individuals;

-      space and time in relation to memory, trauma, personal and collective identity;

-      space and time as visible or hidden layers of meaning, belonging, dis-/re-location, exilic/nomadic/(post)colonial identities, etc.

-      philosophical interpretations of space and time – ontological and epistemological approaches;

-      the relationship between space/time and literature and the arts in various cultural and historical periods;

-      the relationship between science and literature: time machine and time travel tropes;

-      unshackling time-honoured dichotomies: the literary discourse/narrative as temporal vs. the visual narrative as spatial;

-      space and time as producers of meaning and identity;

-      allegorizing space and time (utopias, dystopias, eutopias, si-fi fiction and movies, painting, etc.)

-      heterotopias in literature;

-      urban humanities: new policies and practices for configuring the urban/rural dyad (post-metropolitan identity, gender, race, etc.);

-      the reenactment of sacred time (rituals, holy days, processions, etc.);

-      historical monuments and their role in preserving temporal and spatial identity; 

-      deconstructing linear time and normative space; or, alternative temporalities: the impact of the Anthropocene, climate change, exploitation of resources, eco-critical activism, inclusion of marginal groups, queering the space, etc.;

-      alternative cultural geographies and temporalities;

-      reconfigurations of space in architecture and their evolution in time;

-      recapturing and retrieving lost time and space;

-      reinventing the past in literature, cinematography or psychology;

-      resurrecting past cultures, civilisations and customs through archaeological and anthropological endeavours;

-      stage space and time: stage direction, scenography, light design, costume design and choreography;

-      time and space in the process of adaptation;

-      spatiality, trompe-l'oeil, and mirage in visual arts;

-      the global village - a shortcut in time and space;

-      private space vs. public space and their perception in time.

As of this year, our conference will also offer a number of thematic panel streams that will allow participants to group around their main fields of research and for which potential participants are asked to send their proposals  both  to the conference email address (listed below)  and  to the panel stream organizer:

Expectation, Nostalgia and Regret in Literary and Artistic Space/Time  (panel stream keynote speaker and organiser: Nicolas Tredell, University of Sussex,  [email protected] ).

Fluid Temporalities and Identities in Indian Ocean Spaces  (panel stream organiser: Maria-Sabina Draga Alexandru, University of Bucharest,  [email protected] ).

Space and Time in Romanian / Romanian American Culture,  sponsored by the Romanian Studies Association of America (panel stream keynote speaker and organiser: Letiția Guran, University of North Carolina at Chapel Hill,  [email protected] ).

Time and Space in Early Modern Culture  (panel stream organiser:Alina Bottez, University of Bucharest,  [email protected] ).

Panel proposals on any other topics connected to the conference theme are welcome. Potential panel organizers are welcome to submit full panel proposals to the conference email listed below.

A round table organized by Alina Bottez, University of Bucharest ( [email protected] ) will be held  in memoriam  Professor emeritus Adrian Nicolescu. People who are interested in contributing are welcome to contact her directly.

Conference presentations should be in English and will be allocated 20 minutes each, plus 10 minutes for discussion. Prospective participants are invited to submit abstracts of up to 200 words. Proposals should be in .doc or .docx format and should also include ( within the same document ): name and institutional affiliation, a short bio note (no more than 100 words), 5 keywords and the participant’s e-mail address. Proposals for full panels and round tables (to be organised by the participants) will also be considered. Please submit all proposals to our email address:  [email protected] .

Deadline for proposals:  20 April 2024 .

Conference fee:

Early bird: 100 Euro  (by 1 May)

Regular: 120 Euro  (after 1 May)

MA students and PhD Candidates: 50 Euro

Payment details will be communicated to the participants upon acceptance.

A selection of papers from the conference will be published in the  University of Bucharest Review  (ISSN 2069–8658) – listed on SCOPUS, EBSCO, ERIH PLUS and DOAJ. See the guidelines for contributors at  https://ubr.rev.unibuc.ro/ .

For further details and updates, see:  https://engleza.lls.unibuc.ro/conferinte/ . Enquiries regarding the Theoretical and Applied Linguistics section of the conference, which will be running at the same time, should be sent to  [email protected] .

We look forward to receiving proposals.

Organising and Selection Committee:

Dr Maria-Sabina Draga Alexandru (coordinator)

Dr Alexandra Bacalu

Dr Alina Bottez

Dr Eliana Ionoaia

Dr Dragoș Manea

Dr Andrei Nae

Dr Andreea Paris-Popa

Dr Oana-Alis Zaharia

Advisory Board:

Dr Nazmi Ağıl (Koç University, Istanbul)

Prof Bart Eeckhout (University of Antwerp)

Prof José Manuel Estévez-Saá (University of A Coruña)

Dr Felicity Hand (Autonomous University of Barcelona)

Prof Carl Lavery (University of Glasgow)

Prof Thomas Leitch (University of Delaware)

Dr Chris Louttit (Radboud University, Nijmegen)

Prof Domnica Rădulescu (Washington and Lee University, Lexington)

Prof Kerstin Shands (Södertörn University)

Prof Nicolas Tredell (University of Sussex)