Read the passage carefully and answer questions according to the passage:
Aristotle and Horace are our classical texts for genre theory. From them, we think of tragedy and epic as the characteristic (as well as the two major) kinds. But Aristotle at least is also aware of other and more fundamental distinctions - between drama, epic, and lyric. Most modern literary theory would be inclined to scrap the prose-poetry distinction and then to divide imaginative literature (Dichtung) into fiction (novel, short story, epic), drama (whether in prose or verse), and poetry (centering on what corresponds to the ancient 'lyric poetry'). Vietor suggests, quite properly, that the term 'genre' ought not to be used both for these three more-or-less ultimate categories and may be used for such historical kinds as tragedy and comedy; and we agree that it should be applied to the latter - the historical kinds. A term for the former is difficult to manage - perhaps not often, in practice, needed. The three major kinds are already, by Plato and Aristotle, distinguished according to 'manner of imitation' (or 'representation'): lyric poetry is the poet's own persona; in epic poetry (or the novel) the poet partly speaks in his own person, as narrator, and partly makes his characters speak in direct discourse (mixed narrative); in drama, the poet disappears behind his cast of characters.
Vietor's Argument on Genre Classification
The question asks about Vietor's argument regarding the use of the term 'genre', based on the provided passage. The passage discusses classical genre theory from Aristotle and Horace, distinguishing between ultimate literary categories like drama, epic, and lyric, and historical kinds such as tragedy and comedy.
Analyzing the Passage on Genre Theory
According to the passage, Vietor suggests that the term 'genre' should not be applied to both the fundamental categories (drama, epic, lyric) and the historical kinds (tragedy, comedy) simultaneously. The passage explicitly states agreement with Vietor that the term 'genre' "should be applied to the latter - the historical kinds." This indicates a preference or a more specific application of the term 'genre' to these historical forms.
Evaluating the Options Based on the Passage
Let's examine each option in light of the passage's information:
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Option 1: Focus on Historical Kinds
This option states: "Because historical kinds such as tragedy and comedy, should be the only focus of genre classification." The passage supports the idea that the term 'genre' should be applied to historical kinds like tragedy and comedy. While the passage doesn't use the exact word "only," the emphasis on applying 'genre' specifically to these historical kinds, and not to both ultimate and historical categories, strongly implies that these historical kinds are the primary or intended focus for genre classification in this context.
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Option 2: Relevance of Ultimate Categories
This option suggests: "Because the ultimate categories, such as lyric, epic and drama, are no longer relevant." The passage identifies lyric, epic, and drama as "three more-or-less ultimate categories" distinguished by Plato and Aristotle. It does not state that these categories are irrelevant; rather, it differentiates how the term 'genre' should be applied concerning them versus historical kinds. Therefore, this option is not supported by the text.
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Option 3: Exclusion of Prose and Poetry
This option claims: "Because prose and poetry should not be classified under any genre system." The passage mentions modern literary theory "would be inclined to scrap the prose-poetry distinction" and proceeds to discuss divisions including fiction (novel, short story, epic) and poetry (lyric poetry). This indicates these forms are considered within classification systems, not excluded entirely. Thus, this option contradicts the passage's implications.
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Option 4: Original Application of Genre
This option proposes: "Because the term 'genre' originally applied only to prose narratives." The passage refers to classical texts by Aristotle and Horace, discussing drama, epic, and lyric poetry. These are not exclusively prose narratives, suggesting the term 'genre' had a broader application in classical theory than just prose narratives. The passage does not provide information to support this statement as Vietor's reason.
Based on the analysis, Option 1 aligns best with Vietor's suggestion as interpreted and agreed upon in the passage, emphasizing the application of the term 'genre' to historical kinds like tragedy and comedy.
Important Questions from Analytical Decision Making
- The two types of imagination as discussed by French psychologist Ribot are:
- In what way does epic poetry differ from drama in terms of representation, as stated in the passage?
- How does the concept of enonciation relate to the ideological function of parody?
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