Dominant group/Literature

< Dominant group
York road library has been closed for over 20 years and is designed in an adaptation of the Renaissance style to express the purpose for which the building will be used (first dominant form of English Renaissance was Literature). Credit: philld.

Literature "is the art of written works, and is not bound to published sources (although, under circumstances unpublished sources can be exempt). ... The two major classification of literature are poetry and prose. ... Others exclude all genres such as romance, crime and mystery, science fiction, horror and fantasy."[1]

The theory of dominant group with respect to literature falls into at least two situations: a dominant group of literature or a dominant group associated with literature.

Dominant groups

Examples from primary sources are to be used to prove or disprove each hypothesis. These can be collected per subject or in general.

Literatures

Def. “[t]he body of all written works”[2] is called literature.

Comedys

"Thus, the use of stereotypes in popular fictional forms such as situation comedies may be rather less unambiguously a reflection of dominant group views than Dyer suggests."[3]

"Mean scores for number of Smile and Laughter responses in telic and paratelic state-dominant groups throughout six successive 100 sec periods during exposure to comedy."[4]

"Yet the situation of women is more complex because of their close involvement with members of the dominant group, which has blurred the boundaries between "us" and "them.""[5]

Comparative literature

"Without doubt, multiculturalism is preferable to the monoculturalist oppression of minorities by the dominant group."[6]

Dramas

"Through the sape, there develops what James Scott (1990), in his brilliant essay on resistance strategies in subcultures, calls "hidden transcripts"-a series of disguised messages and attitudes representing a hidden critique of the dominant group's authority."[7]

"Whatever multiplicity of expectations the public may have prior to their first experience with the drama, this system of signs tends to reduce them towards a sameness which conforms with the dominant group's notion of social and artistic "validity" as incorporated into the theater design."[8]

"On the one hand, a theatre seen as part of the unfolding social revolution involves theatre as a catalyst and a pusher in new directions which may not (in this case) represent the interests of an elite or dominant group."[9]

Horrors

"And like non-disabled women, they have a darker side; they are evil, depraved. They function as symbolic scapegoats for the dominant group, and hence the latter may feel horror and disgust and avert their eyes-or stare."[10]

Novels

"Their experience is encoded in the dominant culture as that of exotic Other, "foreigners," as Ralph Connor revealingly titled his novel of immigration in the appropriate(d) discourse. This dominant group has framed the grounds for discussion of a "national literature.""[11]

"This point is crucial to understanding Donald's internalized racism and the novel's resistance to it: the dominant group obtains the consent of the subordinated group not by compulsion but by seduction."[12]

"There is another distinction to be made in considering the Afro-American novel. Baker speaks of experiences in which the dominant group overtly discriminates against the black society and unabashedly allows distinctions that prove its superiority."[13]

Poetrys

"Only those aspects of the minority culture that overlap the dominant culture are recognized by the dominant group."[14]

"Their attitudes toward historical fact are complicated, but not because they are a muted group within a dominant group."[15]

"It began with a rejection of the dominant group and a recognition of acceptance of blackness. In the enumeration and praising of black qualities, it reached its height in an "unfolding" common to both black American and black African poetry."[16]

Science fictions

"Nerds also collect objects connected with knowledge (atlases and maps; mathematical and scientific equipment such as telescopes and slide rules; etc.), and are avid science fiction fans. ... While they arguably represent a privileged and dominant group, many must reconcile this status with their experience of themselves as relatively powerless, or even subjugated, in their everyday lives."[17]

"All the participants in a dominant culture do not necessarily belong to a dominant group. ... This liquidation is the principal subject of Lovecraft's opus, as I tried to show in "Entre le Fantastique et la Science-Fiction, Lovecraft," Cahiers de l'Herne No. 12 (1969)."[18]

"When groups see themselves as opposed, competing for the same resources, subordinate groups may view the dominant group as cold, exploiting, cruel, and arrogant. ... This is the case in the example at the end of this article, where-it is argued that "Aliens" in recent science fiction films are—among other things—figures for actual historical aliens who enter US borders, legally or illegally."[19]

Research

Hypothesis:

  1. Usually literature serves the purposes of the dominant group to maintain itself as such.
  2. Occasionally literature serves the better good of us all.

Control groups

This is an image of a Lewis rat. Credit: Charles River Laboratories.

The findings demonstrate a statistically systematic change from the status quo or the control group.

“In the design of experiments, treatments [or special properties or characteristics] are applied to [or observed in] experimental units in the treatment group(s).[20] In comparative experiments, members of the complementary group, the control group, receive either no treatment or a standard treatment.[21]"[22]

Proof of concept

Def. a “short and/or incomplete realization of a certain method or idea to demonstrate its feasibility"[23] is called a proof of concept.

Def. evidence that demonstrates that a concept is possible is called proof of concept.

The proof-of-concept structure consists of

  1. background,
  2. procedures,
  3. findings, and
  4. interpretation.[24]

See also

References

  1. ↑ "Literature, In: Wikipedia". San Francisco, California: Wikimedia Foundation, Inc. January 13, 2012. Retrieved 2012-01-13.
  2. ↑ "literature, In: Wiktionary". San Francisco, California: Wikimedia Foundation, Inc. December 14 2012. Retrieved 2012-12-18.
  3. ↑ Janet Woollacott (2000). Paul Marris, Sue Thornham. ed. Fictions and ideologies: The case of situation comedy, In: Media studies: a reader Second Edition. New York: New York University Press. pp. 283-296. ISBN 0-8147-5647-6. http://books.google.com/books?id=86kZKhuAjlAC&printsec=frontcover&hl=en. Retrieved 2012-02-10.
  4. ↑ Sven Svebak, Michael J. Apter (September 1987). "Laughter: An empirical test of some reversal theory hypotheses". Scandinavian Journal of Psychology 28 (3): 189-98. doi:10.1111/j.1467-9450.1987.tb00755.x. http://onlinelibrary.wiley.com/doi/10.1111/j.1467-9450.1987.tb00755.x/abstract. Retrieved 2012-02-10.
  5. ↑ Joanne R. Gilbert (1997). "Performing marginality: Comedy, identity, and cultural critique". Text and Performance Quarterly 17 (4): 317-30. doi:10.1080/10462939709366196. http://www.asu.edu/courses/fms490bh/total-readings/L-4-Performing%20Marginality.pdf. Retrieved 2012-02-10.
  6. ↑ Masao Miyoshi (Autumn 2001). "Turn to the Planet: Literature, Diversity, and Totality". Comparative Literature 53 (4): 283-97. http://complit.dukejournals.org/content/53/4/283.full.pdf. Retrieved 2012-01-02.
  7. ↑ Ch. Didier Gondola (April 1999). "Dream and Drama: The Search for Elegance among Congolese Youth". African Studies Review 42 (1): 23-48. http://www.jstor.org/stable/10.2307/525527. Retrieved 2012-02-09.
  8. ↑ Michael Hays (Autumn 1977). "Theater History and Practice: An Alternative View of Drama". New German Critique (12): 85-97. http://www.jstor.org/stable/10.2307/487758. Retrieved 2012-02-09.
  9. ↑ Liz Gunner (1990). "Introduction: forms of popular culture and the struggle for Space". Journal of Southern African Studies 16 (2): 199-206. doi:10.1080/03057079008708230. http://www.tandfonline.com/doi/abs/10.1080/03057079008708230. Retrieved 2012-02-09.
  10. ↑ Robin Tolmach Lakoff (Summer 1989). "Review: Women and disability". Feminist Studies 15 (2): 365-75. doi:10.2307/3177796. http://www.jstor.org/stable/3177796. Retrieved 2015-07-27.
  11. ↑ Barbara Godard (Spring 1990). "The Discourse of the Other: Canadian Literature and the Question of Ethnicity". The Massachusetts Review 31 (1/2): 153-84. http://www.jstor.org/stable/10.2307/25090163. Retrieved 2012-04-26.
  12. ↑ David Goldstein-Shirley (Summer 2000). "'The Dragon is a Lantern': Frank Chin's Counter-Hegemonic Donald Duk". 49th Parallel, An interdisciplinary journal of North American studies (6). http://www.49thparallel.bham.ac.uk/back/issue6/goldsteinshirley.htm. Retrieved 2012-04-26.
  13. ↑ Elizabeth Nunez-Harrell (Winter 1976). "Lamming and Naipaul: Some Criteria for Evaluating the Third-World Novel". Contemporary Literature 19 (1): 26-47. http://www.jstor.org/stable/10.2307/1207889. Retrieved 2012-04-26.
  14. ↑ David Ian Hanauer (September 2003). "Multicultural moments in poetry: The importance of the unique". Canadian Modern Language Review/ La Revue canadienne des langues vivantes 60 (1): 69-87. doi:10.3138/cmlr.60.1.69. http://utpjournals.metapress.com/index/p28p860516305705.pdf. Retrieved 2011-10-21.
  15. ↑ Margaret Dickie (Autumn 1987). "The Alien in Contemporary American Women's Poetry". Contemporary Literature 28 (3): 301-16. http://www.jstor.org/stable/1208623. Retrieved 2011-10-21.
  16. ↑ Suzanne Valenti (4th Quarter 1973). "The Black Diaspora: Negritude in the Poetry of West Africans and Black Americans". Phylon 34 (4): 390-8. http://www.jstor.org/stable/274254. Retrieved 2011-10-21.
  17. ↑ Lori Kendall (Spring 1999). ""The Nerd Within": Mass Media and the Negotiation of Identity Among Computer-Using Men". The Journal of Men's Studies 7 (3): 353-69. http://mensstudies.metapress.com/content/33147175vt8u5857/. Retrieved 2012-02-09.
  18. ↑ Gérard Klein, D. Suvin and Leila Lecorps (March 1977). "Discontent in American science fiction". Science Fiction Studies 4 (1): 3-13. http://www.jstor.org/stable/10.2307/4239062. Retrieved 2012-02-09.
  19. ↑ Charles Ramírez Berg (1990). "Stereotyping in films in general and of the Hispanic in particular". Howard Journal of Communications 2 (3): 286-300. doi:10.1080/10646179009359721. http://www.tandfonline.com/doi/abs/10.1080/10646179009359721. Retrieved 2012-02-09.
  20. ↑ Klaus Hinkelmann, Oscar Kempthorne (2008). Design and Analysis of Experiments, Volume I: Introduction to Experimental Design (2nd ed.). Wiley. ISBN 978-0-471-72756-9. http://books.google.com/?id=T3wWj2kVYZgC&printsec=frontcover.
  21. ↑ R. A. Bailey (2008). Design of comparative experiments. Cambridge University Press. ISBN 978-0-521-68357-9. http://www.cambridge.org/uk/catalogue/catalogue.asp?isbn=9780521683579.
  22. ↑ "Treatment and control groups, In: Wikipedia". San Francisco, California: Wikimedia Foundation, Inc. May 18, 2012. Retrieved 2012-05-31.
  23. ↑ "proof of concept, In: Wiktionary". San Francisco, California: Wikimedia Foundation, Inc. November 10, 2012. Retrieved 2013-01-13.
  24. ↑ Ginger Lehrman and Ian B Hogue, Sarah Palmer, Cheryl Jennings, Celsa A Spina, Ann Wiegand, Alan L Landay, Robert W Coombs, Douglas D Richman, John W Mellors, John M Coffin, Ronald J Bosch, David M Margolis (August 13, 2005). "Depletion of latent HIV-1 infection in vivo: a proof-of-concept study". Lancet 366 (9485): 549-55. doi:10.1016/S0140-6736(05)67098-5. http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1894952/. Retrieved 2012-05-09.

Further reading

External links

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