presentation meaning in literature

Princeton Correspondents on Undergraduate Research

How to Make a Successful Research Presentation

Turning a research paper into a visual presentation is difficult; there are pitfalls, and navigating the path to a brief, informative presentation takes time and practice. As a TA for  GEO/WRI 201: Methods in Data Analysis & Scientific Writing this past fall, I saw how this process works from an instructor’s standpoint. I’ve presented my own research before, but helping others present theirs taught me a bit more about the process. Here are some tips I learned that may help you with your next research presentation:

More is more

In general, your presentation will always benefit from more practice, more feedback, and more revision. By practicing in front of friends, you can get comfortable with presenting your work while receiving feedback. It is hard to know how to revise your presentation if you never practice. If you are presenting to a general audience, getting feedback from someone outside of your discipline is crucial. Terms and ideas that seem intuitive to you may be completely foreign to someone else, and your well-crafted presentation could fall flat.

Less is more

Limit the scope of your presentation, the number of slides, and the text on each slide. In my experience, text works well for organizing slides, orienting the audience to key terms, and annotating important figures–not for explaining complex ideas. Having fewer slides is usually better as well. In general, about one slide per minute of presentation is an appropriate budget. Too many slides is usually a sign that your topic is too broad.

Limit the scope of your presentation

Don’t present your paper. Presentations are usually around 10 min long. You will not have time to explain all of the research you did in a semester (or a year!) in such a short span of time. Instead, focus on the highlight(s). Identify a single compelling research question which your work addressed, and craft a succinct but complete narrative around it.

You will not have time to explain all of the research you did. Instead, focus on the highlights. Identify a single compelling research question which your work addressed, and craft a succinct but complete narrative around it.

Craft a compelling research narrative

After identifying the focused research question, walk your audience through your research as if it were a story. Presentations with strong narrative arcs are clear, captivating, and compelling.

• Introduction (exposition — rising action)

Orient the audience and draw them in by demonstrating the relevance and importance of your research story with strong global motive. Provide them with the necessary vocabulary and background knowledge to understand the plot of your story. Introduce the key studies (characters) relevant in your story and build tension and conflict with scholarly and data motive. By the end of your introduction, your audience should clearly understand your research question and be dying to know how you resolve the tension built through motive.

• Methods (rising action)

The methods section should transition smoothly and logically from the introduction. Beware of presenting your methods in a boring, arc-killing, ‘this is what I did.’ Focus on the details that set your story apart from the stories other people have already told. Keep the audience interested by clearly motivating your decisions based on your original research question or the tension built in your introduction.

• Results (climax)

Less is usually more here. Only present results which are clearly related to the focused research question you are presenting. Make sure you explain the results clearly so that your audience understands what your research found. This is the peak of tension in your narrative arc, so don’t undercut it by quickly clicking through to your discussion.

• Discussion (falling action)

By now your audience should be dying for a satisfying resolution. Here is where you contextualize your results and begin resolving the tension between past research. Be thorough. If you have too many conflicts left unresolved, or you don’t have enough time to present all of the resolutions, you probably need to further narrow the scope of your presentation.

• Conclusion (denouement)

Return back to your initial research question and motive, resolving any final conflicts and tying up loose ends. Leave the audience with a clear resolution of your focus research question, and use unresolved tension to set up potential sequels (i.e. further research).

Use your medium to enhance the narrative

Visual presentations should be dominated by clear, intentional graphics. Subtle animation in key moments (usually during the results or discussion) can add drama to the narrative arc and make conflict resolutions more satisfying. You are narrating a story written in images, videos, cartoons, and graphs. While your paper is mostly text, with graphics to highlight crucial points, your slides should be the opposite. Adapting to the new medium may require you to create or acquire far more graphics than you included in your paper, but it is necessary to create an engaging presentation.

The most important thing you can do for your presentation is to practice and revise. Bother your friends, your roommates, TAs–anybody who will sit down and listen to your work. Beyond that, think about presentations you have found compelling and try to incorporate some of those elements into your own. Remember you want your work to be comprehensible; you aren’t creating experts in 10 minutes. Above all, try to stay passionate about what you did and why. You put the time in, so show your audience that it’s worth it.

For more insight into research presentations, check out these past PCUR posts written by Emma and Ellie .

— Alec Getraer, Natural Sciences Correspondent

Share this:

• Share on Tumblr

.css-1qrtm5m{display:block;margin-bottom:8px;text-transform:uppercase;font-size:14px;line-height:1.5714285714285714;-webkit-letter-spacing:-0.35px;-moz-letter-spacing:-0.35px;-ms-letter-spacing:-0.35px;letter-spacing:-0.35px;font-weight:300;color:#606F7B;}@media (min-width:600px){.css-1qrtm5m{font-size:16px;line-height:1.625;-webkit-letter-spacing:-0.5px;-moz-letter-spacing:-0.5px;-ms-letter-spacing:-0.5px;letter-spacing:-0.5px;}} best practices The skill all powerful storytellers share — and why it’s more important now than ever

by TED Masterclass Team • September 30, 2021

To be human is to tell stories. Stories are how we make sense of the world and share our ideas, passions, and unique perspectives. This TED-Ed video shares how presentation literacy, a skill to improve public speaking, can transform storytelling into your superpower.

An impactful story stays with your audience long after you’ve told it. For thousands of years humans have shared stories that ignite a “spark” in their audience and evoke a sense of empathy, trust, and connection. Listeners pass powerful messages along, spreading interesting ideas and stories far and wide.

The importance of presentation literacy

While storytelling remains as critical as ever, the qualities of an impactful story have had to evolve to continue to captivate in our modern world. As the speed at which information and headlines are shared has accelerated, the average attention span has been reduced to just eight seconds . Eight seconds! In our current media environment it now requires more than words to captivate people. This is where presentation literacy comes into play.

Touted as “ a core skill of the 21st century ”, presentation literacy can be a critical skill to leverage in your career. It requires us to create a compelling story that engages the audience’s other senses too, using high-resolution pictures, videos, or music. Often, it’s a combination of all of the above in addition to words, spelled out and spoken, that make a story truly shine.

In mastering presentation literacy, a storyteller ushers in a clear vision, replete with supplementary audiovisual cues to convey a message or, perhaps, convince others of it. While honing presentation literacy is immensely rewarding, the idea of putting it to practice on the stage can be terrifying to many people .

What presentation literacy can teach you

Many powerful speakers have struggled with stage anxiety. Even some acclaimed TED speakers, as shared by TED curator Chris Anderson , aren’t exempt from this: Monica Lewinsky thought she wasn’t worthy of a spot on the TED stage; Jacqueline Novogratz resisted public speaking in her younger years; and even Elon Musk wasn’t reputed as a “public speaker.” And yet, their TED Talks have been collectively viewed over 60 million times.

These speakers were able to cast aside their insecurities to tell a story that they wanted others to hear. And as a result, they have amassed millions of views and received critical acclaim among their colleagues and many of those who’ve listened to their Talks.

Mastering public speaking and presentation literacy isn’t just limited to speaking onstage. The skill is also valuable in your everyday life. It can teach you how to communicate with others effectively, articulate your ideas clearly, and speak with confidence, whether to colleagues, new acquaintances, family, or friends.

Innovating storytelling

Technology has opened up avenues that allow us to tell our stories in myriad ways. Anderson explains, “we live in an age where you don’t have to be able to speak to thousands of people at a time to have an outsized impact. It could just be you talking intimately to a video camera, and letting the Internet do the rest.”

The hardest part is plucking up the courage to try. We’re ready when you are: To learn how to hone your presentation literacy skills and master public speaking, visit our website, TED Masterclass . Our course guides you through the storytelling process, so you can present your most pressing ideas clearly, concisely, and impactfully.

© 2024 TED Conferences, LLC. All rights reserved. Please note that the TED Talks Usage policy does not apply to this content and is not subject to our creative commons license.

The skill you need now: presentation literacy

Share this idea.

• Click to share on Facebook (Opens in new window)
• Click to share on Twitter (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on Reddit (Opens in new window)
• Click to share on Pocket (Opens in new window)
• Click to share on WhatsApp (Opens in new window)

TED curator Chris Anderson discusses the transformative power of speaking to an audience from the heart.

You’re nervous, right?

Stepping out onto a public stage and having hundreds of pairs of eyes turned your way is terrifying. You dread having to stand up in a company meeting and present your project. What if you get nervous and stumble over your words? What if you completely forget what you were going to say? Maybe you’ll be humiliated! Maybe your career will crater! Maybe the idea you believe in will stay buried forever!

But guess what? Almost everyone has experienced the fear of public speaking. Indeed, surveys that ask people to list their top fears often report public speaking as the most widely selected, ahead of snakes, heights — and even death.

How can this be? There is no tarantula hidden behind the microphone. You have zero risk of plunging off the stage to your death. The audience will not attack you with pitchforks. Then why the anxiety?

It’s because there’s a lot at stake — not just the experience in the moment, but in our longer-term reputation. How others think of us matters hugely. We are profoundly social animals. We crave each other’s affection, respect and support. Our future happiness depends on these realities to a shocking degree. And we sense that what happens on a public stage is going to affect these social currencies, for better or worse. But with the right mindset, you can use your fear as an incredible asset. It can be the driver that will persuade you to prepare for a talk properly.

That’s what happened when Monica Lewinsky (TED Talk: The price of shame ) came to the TED stage. For her, the stakes couldn’t have been higher. Seventeen years earlier, she had been through the most humiliating public exposure imaginable, an experience so intense it almost broke her. Now she was attempting a return to a more visible public life, to reclaim her narrative. But she was not an experienced public speaker, and she knew that it would be disastrous if she messed up. She told me:

“Nervous is too mild a word to describe how I felt. More like . . . Gutted with trepidation. Bolts of fear. Electric anxiety. If we could have harnessed the power of my nerves that morning, I think the energy crisis would have been solved. Not only was I stepping out onto a stage in front of an esteemed and brilliant crowd, but it was also videotaped, with the high likelihood of being made public on a widely viewed platform. I was visited by the echoes of lingering trauma from years of having been publicly ridiculed. Plagued by a deep insecurity I didn’t belong on the TED stage. That was the inner experience against which I battled.”

And yet Monica found a way to turn that fear around. Her talk won a standing ovation at the event, rocketed to a million views within a few days and earned rave reviews online. It even prompted a public apology to her from a longtime critic, feminist author Erica Jong.

The brilliant woman I am married to, Jacqueline Novogratz (TED Talk: Inspiring a life of immersion ), was also haunted by fear of public speaking. In school, at college and into her twenties, the prospect of a microphone and watching eyes was so scary it was debilitating. But she knew that to advance her work fighting poverty, she’d have to persuade others, and so she just began forcing herself to do it. Today she gives scores of speeches every year, often earning standing ovations.

Indeed, everywhere you look, there are stories of people who were terrified of public speaking but found a way to become really good at it, from Eleanor Roosevelt to Warren Buffett to Princess Diana, who was known to all as “shy Di,” but found a way to speak informally in her own voice, and the world fell in love with her.

If you can get a talk right, the upside can be amazing. Take the talk that entrepreneur Elon Musk (TED Talk: The mind behind Tesla, SpaceX, SolarCity … ) gave to SpaceX employees on August 2, 2008. Musk was not known as a great public speaker. But that day, his words marked an important turning point for his company. SpaceX had already suffered two failed launches. This was the day of the third launch, and everyone knew failure could force the company’s closure. The Falcon rocket soared off the launch pad, but right after the first stage fell away, disaster struck. The spacecraft exploded. The video feed went dead. Some 350 employees had gathered and, as described by Dolly Singh, the company’s head of talent acquisition, the mood was thick with despair. Musk emerged to speak to them. He told them they’d always known it would be hard, but that despite what had happened, they had already accomplished something that day that few nations, let alone companies, had achieved. They had successfully completed the first stage of a launch and taken a spacecraft to outer space. They simply had to pick themselves up and get back to work. Here’s how Singh described the talk’s climax:

Then Elon said, with as much fortitude and ferocity as he could muster after having been awake for like 20+ hours by this point, “For my part, I will never give up and I mean never.” I think most of us would have followed him into the gates of hell carrying suntan oil after that. It was the most impressive display of leadership that I have ever witnessed. Within moments the energy of the building went from despair and defeat to a massive buzz of determination as people began to focus on moving forward instead of looking back.

That’s the power of a single talk. You might not be leading an organization, but a talk can still open new doors or transform a career.

TED speakers have told us delightful stories of the impact of their talks. Yes, there are sometimes book and movie offers, higher speaking fees and unexpected offers of financial support. But the most appealing stories are of ideas advanced, and lives changed. Young Malawian inventor William Kamkwamba’s inspiring talk about building a windmill in his village as a 14-year-old (TED Talk: How I harnessed the wind ) sparked a series of events that led to him being accepted into an engineering program at Dartmouth College.

Here’s a story from my own life: When I first took over leadership of TED in late 2001, I was reeling from the near collapse of the company I had spent 15 years building, and I was terrified of another huge public failure. I had been struggling to persuade the TED community to back my vision for TED, and I feared that it might just fizzle out. Back then, TED was an annual conference in California, owned and hosted by a charismatic architect named Richard Saul Wurman, whose larger-than-life presence infused every aspect of the conference. About 800 people attended every year, and most of them seemed resigned to the fact that TED probably couldn’t survive once Wurman departed. The TED conference of February 2002 was the last to be held under his leadership, and I had one chance and one chance only to persuade TED attendees that the conference would continue just fine. I had never run a conference before, however, and despite my best efforts at marketing the following year’s event, only 70 people had signed up for it.

Early on the last morning of that conference, I had 15 minutes to make my case. And here’s what you need to know about me: I am not naturally a great speaker. I say “um” and “you know” far too often. I will stop halfway through a sentence, trying to find the right word to continue. I can sound overly earnest, soft spoken, conceptual. My quirky British sense of humor is not always shared by others.

I was so nervous about this moment, and so worried that I would look awkward on the stage, that I couldn’t even bring myself to stand. Instead I rolled forward a chair from the back of the stage, sat on it and began.

I look back at that talk now and cringe — a lot. If I were critiquing it today, there are a hundred things I would change, starting with the wrinkly white T-shirt I was wearing. And yet … I had prepared carefully what I wanted to say, and I knew there were at least some in the audience desperate for TED to survive. If I could just give those supporters a reason to get excited, perhaps they would turn things around. Because of the recent dotcom bust, many in the audience had suffered business losses as bad as my own. Maybe I could connect with them that way?

I spoke from the heart, with as much openness and conviction as I could summon. I told people I had just gone through a massive business failure. That I’d come to think of myself as a complete loser. That the only way I’d survived mentally was by immersing myself in the world of ideas. That TED had come to mean the world to me — that it was a unique place where ideas from every discipline could be shared. That I would do all in my power to preserve its best values. That, in any case, the conference had brought such intense inspiration and learning to us that we couldn’t possibly let it die … could we?

Oh, and I broke the tension with an apocryphal anecdote about France’s Madame de Gaulle and how she shocked guests at a diplomatic dinner by expressing her desire for “a penis.” In England, I said, we also had that desire, although there we pronounced it happiness and TED had brought genuine happiness my way.

To my utter amazement, at the end of the talk, Jeff Bezos, the head of Amazon, who was seated in the center of the audience, rose to his feet and began clapping. And the whole room stood with him. It was as if the TED community had collectively decided, in just a few seconds, that it would support this new chapter of TED after all. And in the 60-minute break that followed, some 200 people committed to buying passes for the following year’s conference, guaranteeing its success.

If that 15-minute talk had fizzled, TED would have died, four years before ever putting a talk on the Internet.

No matter how little confidence you might have today in your ability to speak in public, there are things you can do to turn that around. Facility with public speaking is not a gift granted at birth to a lucky few. It’s a broad-ranging set of skills. There are hundreds of ways to give a talk, and everyone can find an approach that’s right for them and learn the skills necessary to do it well.

Several years ago, TED’s content director, Kelly Stoetzel, and I went on a global tour in search of speaking talent. In Nairobi, Kenya, we met Richard Turere, a 12-year-old Maasai boy who had come up with a surprising invention. His family raised cattle, and one of the biggest challenges was protecting them at night from lion attacks. Richard had noticed that a stationary campfire didn’t deter the lions, but walking around waving a torch did seem to work. The lions were apparently afraid of moving lights! Richard had somehow taught himself electronics by messing around with parts taken from his parents’ radio. He used that knowledge to devise a system of lights that would turn on and off in sequence, creating a sense of movement. It was built from scrapyard parts — solar panels, a car battery and a motorcycle indicator box. He installed the lights and — presto! — the lion attacks stopped. News of his invention spread and other villages wanted in. Instead of seeking to kill the lions as they had done before, they installed Richard’s “lion lights.” Both villagers and pro-lion environmentalists were happy.

It was an impressive achievement but, at first glance, Richard certainly seemed an unlikely TED speaker. He stood hunched over in a corner of the room, painfully shy. His English was halting, and he struggled to describe his invention coherently. It was hard to imagine him on a stage in California in front of 1,400 people, slotted alongside Sergey Brin and Bill Gates.

But Richard’s story was so compelling that we went ahead anyway and invited him to come speak at TED (TED Talk: My invention that made peace with lions ). In the months before the conference, we worked with him to frame his story — to find the right place to begin, and to develop a natural narrative sequence. Because of his invention, Richard had won a scholarship to one of Kenya’s best schools, where he had the chance to practice his TED Talk several times in front of a live audience. This helped build his confidence to the point where his personality could shine through.

He got on an airplane for the first time in his life and flew to Long Beach, California. As he walked onto the TED stage, you could tell he was nervous, but that only made him more engaging. As Richard spoke, people were hanging on his every word, and every time he smiled, the audience melted. When he finished, people just stood and cheered.

Richard’s tale can encourage us all to believe we might be able to give a decent talk. Your goal is not to be Winston Churchill or Nelson Mandela. It’s to be you. If you’re a scientist, be a scientist; don’t try to be an activist. If you’re an artist, be an artist; don’t try to be an academic. If you’re just an ordinary person, don’t try to fake some big intellectual style; just be you. You don’t have to raise a crowd to its feet with a thunderous oration. Conversational sharing can work just as well. In fact, for most audiences, it’s a lot better. If you know how to talk to a group of friends over dinner, then you know enough to speak publicly.

And technology is opening up new options. We live in an age where you don’t have to be able to speak to thousands of people at a time to have an outsized impact. It could just be you talking intimately to a video camera, and letting the Internet do the rest.

Presentation literacy isn’t an optional extra for the few. It’s a core skill for the twenty-first century. It’s the most impactful way to share who you are and what you care about. If you can learn to do it, your self-confidence will flourish, and you may be amazed at the beneficial impact it can have on your success in life, however you might choose to define that.

If you commit to being the authentic you, I am certain that you will be capable of tapping into the ancient art that is wired inside us. You simply have to pluck up the courage to try.

Excerpted from the book TED Talks: The Official TED Guide to Public Speaking by Chris Anderson. © 2016 by Chris Anderson. Reproduced by permission of Houghton Mifflin Harcourt. All rights reserved.

About the author

Chris Anderson is the curator of TED.

• book excerpt
• Chris Anderson
• Jacqueline Novogratz
• Monica Lewinsky
• presentation literacy
• public speaking
• Richard Turere
• William Kamkwamba

TED Talk of the Day

How to make radical climate action the new normal

6 ways to give that aren't about money

A smart way to handle anxiety -- courtesy of soccer great Lionel Messi

How do top athletes get into the zone? By getting uncomfortable

6 things people do around the world to slow down

Creating a contract -- yes, a contract! -- could help you get what you want from your relationship

Could your life story use an update? Here’s how to do it 

6 tips to help you be a better human now

How to have better conversations on social media (really!)

Let’s stop calling them “soft skills” -- and call them “real skills” instead

3 strategies for effective leadership, from a former astronaut

There’s a know-it-all at every job — here’s how to deal

Storytelling is a powerful communication tool — here’s how to use it, from TED

What’s the difference between shyness and introversion? And how can companies help introverts thrive? A Q&A with Susan Cain

Before your next presentation or speech, here's the first thing you must think about

Gallery: When reading is an act of daring

• PRESENTATION SKILLS

What is a Presentation?

Search SkillsYouNeed:

Presentation Skills:

• A - Z List of Presentation Skills
• Top Tips for Effective Presentations
• General Presentation Skills
• Preparing for a Presentation
• Organising the Material
• Writing Your Presentation
• Deciding the Presentation Method
• Managing your Presentation Notes
• Working with Visual Aids
• Presenting Data
• Managing the Event
• Coping with Presentation Nerves
• Dealing with Questions
• How to Build Presentations Like a Consultant
• 7 Qualities of Good Speakers That Can Help You Be More Successful
• Self-Presentation in Presentations
• Specific Presentation Events
• Remote Meetings and Presentations
• Giving a Speech
• Presentations in Interviews
• Presenting to Large Groups and Conferences
• Giving Lectures and Seminars
• Managing a Press Conference
• Attending Public Consultation Meetings
• Managing a Public Consultation Meeting
• Crisis Communications
• Elsewhere on Skills You Need:
• Communication Skills
• Facilitation Skills
• Teams, Groups and Meetings
• Effective Speaking
• Question Types

Subscribe to our FREE newsletter and start improving your life in just 5 minutes a day.

You'll get our 5 free 'One Minute Life Skills' and our weekly newsletter.

We'll never share your email address and you can unsubscribe at any time.

The formal presentation of information is divided into two broad categories: Presentation Skills and Personal Presentation .

These two aspects are interwoven and can be described as the preparation, presentation and practice of verbal and non-verbal communication. 

This article describes what a presentation is and defines some of the key terms associated with presentation skills.

Many people feel terrified when asked to make their first public talk.  Some of these initial fears can be reduced by good preparation that also lays the groundwork for making an effective presentation.

A Presentation Is...

A presentation is a means of communication that can be adapted to various speaking situations, such as talking to a group, addressing a meeting or briefing a team.

A presentation can also be used as a broad term that encompasses other ‘speaking engagements’ such as making a speech at a wedding, or getting a point across in a video conference.

To be effective, step-by-step preparation and the method and means of presenting the information should be carefully considered. 

A presentation requires you to get a message across to the listeners and will often contain a ' persuasive ' element. It may, for example, be a talk about the positive work of your organisation, what you could offer an employer, or why you should receive additional funding for a project.

The Key Elements of a Presentation

Making a presentation is a way of communicating your thoughts and ideas to an audience and many of our articles on communication are also relevant here, see: What is Communication? for more.

Consider the following key components of a presentation:

Ask yourself the following questions to develop a full understanding of the context of the presentation.

When and where will you deliver your presentation?

There is a world of difference between a small room with natural light and an informal setting, and a huge lecture room, lit with stage lights. The two require quite different presentations, and different techniques.

Will it be in a setting you are familiar with, or somewhere new?

If somewhere new, it would be worth trying to visit it in advance, or at least arriving early, to familiarise yourself with the room.

Will the presentation be within a formal or less formal setting?

A work setting will, more or less by definition, be more formal, but there are also various degrees of formality within that.

Will the presentation be to a small group or a large crowd?

Are you already familiar with the audience?

With a new audience, you will have to build rapport quickly and effectively, to get them on your side.

What equipment and technology will be available to you, and what will you be expected to use?

In particular, you will need to ask about microphones and whether you will be expected to stand in one place, or move around.

What is the audience expecting to learn from you and your presentation?

Check how you will be ‘billed’ to give you clues as to what information needs to be included in your presentation.

All these aspects will change the presentation. For more on this, see our page on Deciding the Presentation Method .

The role of the presenter is to communicate with the audience and control the presentation.

Remember, though, that this may also include handing over the control to your audience, especially if you want some kind of interaction.

You may wish to have a look at our page on Facilitation Skills for more.

The audience receives the presenter’s message(s).

However, this reception will be filtered through and affected by such things as the listener’s own experience, knowledge and personal sense of values.

See our page: Barriers to Effective Communication to learn why communication can fail.

The message or messages are delivered by the presenter to the audience.

The message is delivered not just by the spoken word ( verbal communication ) but can be augmented by techniques such as voice projection, body language, gestures, eye contact ( non-verbal communication ), and visual aids.

The message will also be affected by the audience’s expectations. For example, if you have been billed as speaking on one particular topic, and you choose to speak on another, the audience is unlikely to take your message on board even if you present very well . They will judge your presentation a failure, because you have not met their expectations.

The audience’s reaction and therefore the success of the presentation will largely depend upon whether you, as presenter, effectively communicated your message, and whether it met their expectations.

As a presenter, you don’t control the audience’s expectations. What you can do is find out what they have been told about you by the conference organisers, and what they are expecting to hear. Only if you know that can you be confident of delivering something that will meet expectations.

See our page: Effective Speaking for more information.

How will the presentation be delivered?

Presentations are usually delivered direct to an audience.  However, there may be occasions where they are delivered from a distance over the Internet using video conferencing systems, such as Skype.

It is also important to remember that if your talk is recorded and posted on the internet, then people may be able to access it for several years. This will mean that your contemporaneous references should be kept to a minimum.

Impediments

Many factors can influence the effectiveness of how your message is communicated to the audience.

For example background noise or other distractions, an overly warm or cool room, or the time of day and state of audience alertness can all influence your audience’s level of concentration.

As presenter, you have to be prepared to cope with any such problems and try to keep your audience focussed on your message.   

Our page: Barriers to Communication explains these factors in more depth.

Continue to read through our Presentation Skills articles for an overview of how to prepare and structure a presentation, and how to manage notes and/or illustrations at any speaking event.

Continue to: Preparing for a Presentation Deciding the Presentation Method

See also: Writing Your Presentation | Working with Visual Aids Coping with Presentation Nerves | Dealing with Questions Learn Better Presentation Skills with TED Talks

The Cersonsky Lab at UW-Madison

The Cersonsky Lab is a research group based at the University of Wisconsin - Madison, Department of Chemical and Biological Engineering

8 Tips for a Literature Review Presentation

by Caleb Youngwerth

Literature reviews for research are very different from any other presentation you may have done before, so prepare to relearn how to present. The goals of research literature reviews are different, the style is different, even the pacing is different. Even if you have previously done a literature review in an academic setting, you will still want to know these tips. I found this out the hard way, so you don’t have to. Also, to clarify, these tips are meant for a literature review of a topic, not a singular study or paper, though many of the tips do apply to both.

1. Highlight current research

The point of a literature review for research is to highlight the current state of research related to your topic, not to simply give background information. Background information is important and should be included, but the focus of the presentation should be showing some current studies that either confirm or challenge the topic you are studying. As much as textbooks from 30 years ago might seem to have all the information you need for your presentation, a research study from this decade does a far better job representing the current state of the topic, which is the end goal of the presentation. Also, since the new research should be the focal point of the presentation, as a general piece of advice, try to give each research study a minimum of one full slide, so you can give a fuller picture of what the study actually concluded and how they reached their conclusion.

2. Alternate old and new

The best way to keep people listening to your presentation is to vary what you include in your presentation. Rather than trying to give all of the background information first and then showcase all the flashy new research, try to use the two interchangeably. Organize the presentation by idea and give all the background needed for the idea, then develop the idea further by using the new research studies to help illustrate your point. By doing this, you not only avoid having to backtrack and reteach the background for each and every new study, but also help keep the presentation interesting for the audience. This method also helps the audience avoid being overwhelmed since only a little bit of new information is introduced at a time. Obviously, you may need to include a brief introductory section that contains nothing but textbook information that is absolutely necessary to understand anything about the topic, but the more varied the presentation, the better.

3. Use complete sentences

Every presentation class up to this point probably has taught you that slides with full sentences are harmful to your presentation because it is distracting to the listener. Unlearn all that information for this style of presentation. Bullet points are still good, but you should have complete ideas (which usually means complete sentences) for every single point. If someone would be able to read your slides and not hear you, and still be able to understand most of your presentation, your literature review is perfect in a research setting. The point of this presentation is to share all the new information you have learned, so hiding it is helping no one. You still do not want to be reading your slides verbatim and can absolutely add information beyond the slides, but all your main ideas should be on the slides.

4. Read smart

I will admit that I stole this tip from Rosy, but it is a very good tip, so I decided to include it. When you read, you want to read as much as you can, but wasting time reading an irrelevant research study is helping no one. When finding a new study, read the abstract, then the conclusion, then the pictures. If it looks like a good study from those three parts, or you personally find it interesting, you then can go over the actual paper and read it, but by reading the less dense parts first, you can get a general idea of the study without actually having to take a lot of time to read the entire paper. Though textbooks and review papers generally are a little more difficult to read using this method, you can still look at the introduction, pictures, and conclusion and save time reading the rest if the source ends up not being interesting or important.

5. Reading is good for you

As much as you want to read smart when you can, the more you read, the more knowledgeable you become. The goal of the presentation is to become an expert on you topic, so the only way you can do that is by reading as much as you can. You should read more information than you present, since many sources you read probably will not fit in a time-constrained presentation. As Rosy likes to say, in anything research, only about 10% of what you know should actually be shared with the world. By reading more, you are better-suited to answer questions, and you also just generally are able to understand what you are studying better because, chances are, the main purpose of this presentation for you is to help you better understand your research. If something looks interesting and is vaguely related to your topic, read it; it will be beneficial to you, even if you do not end up presenting the information.

6. Let pictures talk for you

When reading research papers, the pictures are usually the best part. Your presentation should be the same way. The best way to be able to show the concept you are trying to explain is to literally show it. The best way to show the results of a research study is usually by showing a graph or infographic, so if the paper has a graph that shows the results, you should absolutely use it. Charts, diagrams, and even videos can also help illustrate a piece of background information that might be difficult to put into words. That being said, you should know and be able to explain every single part of the graphic. Otherwise, it loses meaning and makes the audience even more confused. Captions can and should be used to help explain the graphic, not only to remind you, but also let your audience know what the general idea of the graphic is. Since they keep slides interesting, you should probably have some sort of picture on every slide, otherwise the slides will be not only bland, but also likely less informative.

7. Avoid overcrowded slides

Just because you should have a lot of information in your presentation does not mean that your slides need to show that. In fact, a slide with too much information will only harm your presentation since your audience will be distracted trying to read all of a long slide while you are trying to explain it. Doing anything to make slides less dense will help avoid having the audience focused on the slide, so they focus on you more. Transitions that only show one point at a time or wait to reveal an image can be helpful in breaking up an overcrowded slide. Also, simply adding more slides can help since it accomplishes the purpose of putting less information on your slides while still keeping the exact same amount of information. You still want to share as much information as you can with the audience, but overcrowded slides do not accomplish this purpose.

8. Expect questions

Another thing that might be slightly different about a research presentation is questions. Most presentations have the question section after the presenter has finished. Research presentations are different because they allow for questions during the presentation (assuming it is a presentation to a small group). If you get any questions in the middle of the presentation, it is not someone being rude, but simply a fellow researcher who is legitimately curious about your topic. Of course, there will be a question period after the presentation, but you may be asked questions during the presentation. If you read enough information on the topic, you should be able to answer any question easily, but if the question is completely unrelated to anything you read, then it is perfectly reasonable to answer that you did not research the specific area in question. Overall, the questions related to your presentation should not be your biggest worry, but you should definitely be ready.

These are not all the rules for a literature review presentation nor are they set in stone. These are just some tips that I was told or learned that were the most helpful for me, so I hope they will help you too. I had to rewrite my presentation entirely my first literature review because I did not understand some of these differences, so if you give the presentation when you are scheduled to go, you are already better off than I was. Also, do not be afraid to ask anyone in the research group, even Rosy, if you need help. Chances are everyone in the group has given a literature review presentation at some point, so we would be more than happy to help you if you are confused about something. That being said, we are not experts on your topic, so specific questions about organization and content are going to have to be figured out by yourself. Either way, no matter what you do, do not stress out about this presentation. The goal of the presentation is mostly just to help improve your knowledge on a topic, and the presentation is simply to share with the group some of the information you have learned. Best of luck with the presentation, and I hope these tips help clear up what exactly the goal of a literature review presentation in a research setting is.

• school Campus Bookshelves
• menu_book Bookshelves
• perm_media Learning Objects
• login Login
• how_to_reg Request Instructor Account
• hub Instructor Commons

Margin Size

• Download Page (PDF)
• Download Full Book (PDF)
• Periodic Table
• Physics Constants
• Scientific Calculator
• Reference & Cite
• Tools expand_more
• Readability

selected template will load here

This action is not available.

1.1: What is Literature?

• Last updated
• Save as PDF
• Page ID 40366

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)

( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)

\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)

\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

\( \newcommand{\Span}{\mathrm{span}}\)

\( \newcommand{\id}{\mathrm{id}}\)

\( \newcommand{\kernel}{\mathrm{null}\,}\)

\( \newcommand{\range}{\mathrm{range}\,}\)

\( \newcommand{\RealPart}{\mathrm{Re}}\)

\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

\( \newcommand{\Argument}{\mathrm{Arg}}\)

\( \newcommand{\norm}[1]{\| #1 \|}\)

\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)

\( \newcommand{\vectorA}[1]{\vec{#1}}      % arrow\)

\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}}      % arrow\)

\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

\( \newcommand{\vectorC}[1]{\textbf{#1}} \)

\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)

\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)

\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)

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.

Works Cited

Bacon, Katie. "An African Voice." The Atlantic , 2000.

"Battle of the Authors: Are The Most Popular Rated Fiction Books Written by Men or Women?" Wordery , 1 Mar. 2019.

Darby, Luke. "Illinois Prison Bans Frederick Douglass's Memoir and Other "Racial" Books." GQ , 20 August 2019.

Douglass, Frederick. The Narrative of the Life of Frederick Douglass. 1845.

Friedrich, Caspar David. "Wanderer Above the Sea of Fog." Hamburger Kunsthalle Museum , 1818.

Gilroy, Paul. "Banned Books of Guantánamo: 'An American Slave' by Frederick Douglass." Vice , 14 Nov. 2014.

"literature, n.; 3b & 5" OED Online , Oxford University Press, September 2019, www.oed.com/view/Entry/109080. Accessed 6 September 2019.

Rollison, David. "Big L vs Little L Literature." Survey of World Literature I. College of Marin, 2008. Lecture.

Wheatley, Phillis. Poems on Various Subjects, Religious and Moral . 1773.

Woolf, Virginia. A Room of One's Own. 1929.

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Writing a Literary Analysis Presentation

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

Our presentation is designed to help teachers introduce writing literary analysis to their students.

• Skip to primary navigation
• Skip to main content
• Skip to primary sidebar

WRITERS HELPING WRITERS®

Helping writers become bestselling authors

Representation in Literature: Why It’s Important & How To Handle It

October 10, 2018 by ANGELA ACKERMAN

Happy to welcome Deborah Dixon , a passionate author, editor, and racial justice activist to talk a bit on Representation in Literature, a topic of importance and something I think many of us want to understand better so we can encourage the right sort of discussions and help bring about change. Please read on!

The issue of representation has become an important one in literature and throughout the entertainment industry. As an author and publisher of color, I am often asked to offer insight on how best to include characters of diverse backgrounds. Specifically, this means characters from minority or underrepresented groups, such as ethnic minorities, LGBTQIA+ persons, religious minorities, those with disabilities, and to some extent, socioeconomic minorities. In this article, I will use the term “minority” to refer to members of all of these groups.

First, my credentials: I am Jamaican, neurodivergent, and simultaneously a citizen of and immigrant to the United States, among other things. These credentials do matter, because the basis of a person’s regard for your opinion on these sensitive matters starts with your background. It isn’t the whole picture; not every minority person has the same breadth of experiences, and many majority members have been exposed to the problems that minority members face. Also, like anything else, background and privilege are nuanced. Even I have some sources of privilege: I am cisgender and not physically disabled.

Also valued is the nature of a writer’s privilege. I won’t discuss privilege and entitlement too much here, as there are plenty of resources on both, such as this exploration of the different elements of identity.

There are two primary reasons why representation is important: inclusivity and perception .

Seeing people who look, act, and experience life like them in media makes a person feel included in a society, and it reinforces positive views of themselves and what they can achieve in society. Also, members of other groups, especially majority groups, base their ideas of groups on what they see in the media . For example, a hiring manager who watches too many police procedurals might view candidates of minority races as having criminal tendencies.

For people who exist outside of these marginalized and underrepresented groups, it can be hard to imagine life with the experiences and hardships that minorities experience. Without those experiences, writing characters of diverse backgrounds can seem daunting.

A good start is to be cognizant of the problems that your character would face and when those problems would have to be addressed. People of minority groups are still people; we have similar needs and similar motivations. The main difference is in the ways that society and its structures are arrayed against any particular group.

Therefore, in some situations, it will be perfectly acceptable to write a minority character just as you would any other. If a character’s romantic relationships are never brought up, then their sexual orientation might be little more than a footnote. Likewise, a black student’s college career might be just like that of a white student if the college itself is diverse and tolerant.

However, if the character is placed in a situation where their identity would be a factor, then it would be irresponsible to overlook it. For example, a black character being pulled over by the police should be described as feeling exceptional anxiety over their possible treatment by the officers. Whether the writer feels that this is a legitimate fear is irrelevant; it is what black people experience, and it is a problem that we continue to battle . Any work that included a black character getting along famously with the police would be soundly ridiculed by the black community.

Also, it might be tempting to fall back on stereotypes, but these are harmful images that still negatively affect members of those minorities. Take, for example, the common use of Middle Eastern characters as villains , or the portrayal of Native Americans as oversexualized savages . If these are the characters that are being written, then we would rather not have them at all!

Remember that minority characters are not there to be “exotic” ornaments for your plot. One striking example I encountered as an editor was a white writer using an almost all-white cast who included an Asian woman as a manicurist. It was meant as a cheeky observation, but in practice, it supported yet another harmful stereotype, and it would have reinforced to readers that Asian woman are only fit to run nail salons.

Always Do the Research

There is plenty of first-hand material about the situations that minority groups face, and many companies, including mine , offer research specific to fiction writing. If you happen to know someone from the group that you are interested in writing about, then ask that person if they can offer any insight, and be prepared for them to possibly turn you down.

Finally, remember that this is a cultural exchange; you must offer something in return. Consider promoting minority authors. Don’t just tack on characters to be “diverse,” and don’t borrow elements from a group without context, such as European knights using scimitars because they’re “cool.”

For a well-known example of what not to do , observe J. K. Rowling’s approach to including Native Americans in the Potterverse. She combined the hundreds of Native American cultures into one homogenous “community,” reappropriated important cultural touchstones, and supported harmful narratives of Natives accepting white colonialism. Although she was called out on this , she has not publicly apologized or changed her approach.

The best recent example of representation being done right is a film: 2016’s The Accountant , in which the main character, played by Ben Affleck, is high-functioning autistic. While the character is written in a very predictable fashion—aural oversensitivity, emotional vacancy—Affleck’s performance provides nuance that elevates the entire story. It’s clear that he and his supporting cast did the research, and while the movie’s overall effect on the autistic community is debatable, many of us saw pieces of ourselves in its protagonist .

Although the entertainment industry at large is welcoming more content written by minority members, most stories that reach the mainstream are still ones written by the majority—white, straight people. The majority still has a much stronger voice. Use it to amplify positive portrayals of the people who need them the most.

As with anything else, when in doubt, ask.

Look for editors who specifically offer sensitivity reading as part of their processes. Many editors, like those at Shalamar, offer diversity feedback as a matter of course.  Here’s an additional resource to check out if you are incorporating diversity in your work:

Writing Diversity Checklist

We welcome respectful discussion–if you have questions or comments, debra is here to discuss.

Shalamar is a book publishing and author advocacy company based in New Orleans, Louisiana. Created in 2016 by a trio of writers, Shalamar aims to break down barriers to entry in publishing by offering accessible and affordable services to new and undiscovered writers.

The company also supports initiatives to amplify voices from underrepresented and marginalized groups. They can be found at @shalamarllp on Facebook and @ShalamarNOLA everywhere else.

Deborah Dixon is a cofounder, author, and editor at Shalamar . She has published two novels, seven novellas, and numerous short stories of her own.

She is a digital rights and racial justice activist, and her opinions on social issues, the publishing process, and Saints football can be found on Twitter at @Deboracracy .

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers , a portal to powerful, innovative tools to help writers elevate their storytelling.

Share this:

• Click to share on Twitter (Opens in new window)
• Click to share on Facebook (Opens in new window)
• Click to share on Pinterest (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on Tumblr (Opens in new window)
• Click to email a link to a friend (Opens in new window)
• Click to share on Reddit (Opens in new window)
• Click to print (Opens in new window)

Reader Interactions

October 18, 2020 at 10:26 am

I believe that books are the essence of who we are and who we dream of being. Therefore, representation is a crucial component in building the identity of an individual and its sense of belonging. Reading about someone who looks like you makes you feel that you can achieve anything and that you truly belong in the society. Seeing someone just like me being reflected in a book makes me feel that I’m not the outsider that I always thought I was. However, there is indeed a lack of representation of minority groups in books. I totally agree that the lack of representation has become an important issue in literature and that minorities should be depicted more in books. In that being said however, any representation should not be accepted just because of the lack of it. Disrespectful and damaging representations of minorities should not be tolerated just for the sake of finally being represented in books.

August 13, 2019 at 11:26 pm

Great stuff, and the Shalamar tips before publishing are excellent and extensive! Thanks for this. Will help my Gr 12 English class think oppressive representation that occurs in some of these more subtle ways.

August 13, 2019 at 11:40 pm

August 22, 2019 at 3:51 pm

Thank you so much Wes, and best wishes for your English class! Glad you found this information and the resources helpful. Feel free to reach out if I can help further!

October 12, 2018 at 12:08 am

As a Native American author, I want to thank you for this post. Keep fighting the good fight!

It is hard to find books where people like me aren’t A) Sexy Shifters B) Poor C) Swindlers

Which is funny, since none of the Lenni-Lenape people that I know are any of those. Hang on… *runs outside, looks at the moon, tries real real extra super hard* Nope. Still not a shifter. Darn. 😉

My people also didn’t wear huge feather headdresses, live in teepees, say “howgh” for hello, or most of the other traits that perhaps were exhibited in the western tribes. We did, however, influence the creation of the original laws of this country, such as the Constitution and Bill of Rights. Obviously not well enough to be considered human until 1879, or be eligible to be citizen of the land we’d lived on for thousands of years until 1924, or get the Voting Rights Act fully nailed down (looking at two states right now…). But hey, we tried.

If anyone out there does have a book with well-written Lenni-Lenape characters, please track me down and drop a buy link. I’m always looking!

October 12, 2018 at 2:24 pm

Preach it! I would love to sit many, many non-Native writers (sadly, including some Black ones) down and have them write this sentence a few hundred times:

Native American communities are NOT monolithic.

As you can see above, I refuse to let Rowling live it down.

If anyone out there has a story will well-developed Lenni-Lenape characters, I just might publish it. 😉

October 11, 2018 at 10:02 pm

That’s definitely some great stuff, and I largely agree. I do take issue with simply saying there are some things you should “never do.” For example, making an autistic character have some unique strange ability can work if it’s done well or the usual cliches of the trope are subverted.

I’m not saying that just for the sake of debate. I have autism myself, and my current story in progress plays on that trope.

October 12, 2018 at 2:13 pm

Thank you Claire! And thanks for checking out our list!

The things that made it onto the Never-Do list aren’t there because they can’t be done well, but because when they are done (well or otherwise), they consistently cause harm to real, living people of that particular group.

Regarding autistic characters, I’ll go and change my wording on the list, but I did think specifically of powers that are related to a character’s autism, correcting the ‘imbalance’ of the disability. (An autistic character with, say, lightning powers, unrelated to her autism, would probably be okay.)

Objectively, a disability-superpower autistic character could possibly be done well, especially by an autistic writer, but I respectfully disagree that the character *should* be done even so. Even if the character was brilliant and an excellent role model, like a neurodivergent Wonder Woman, she would still be perpetrating objectifying stereotypes about how we need a ‘cure’ to balance out our deficiencies. It also isolates a model minority within the autistic community, as it elevates ‘superhuman’ autistics (ie savants) above others on the spectrum, valuing them more and devaluing the others as useless or helpless.

(Here’s an article that goes into model minorities more: https://www.hollywoodreporter.com/news/why-good-doctor-is-bad-medicine-autism-1098809 )

So while this kind of character could work from a character-development standpoint, her existence would cause strain on those of us (like you and me) who deal with autism stereotypes regularly. My opinion is that the character isn’t worth the harm done, but we likely have different experiences and observations that lead to different conclusions. 🙂

October 11, 2018 at 9:15 pm

Wonderful! Very revelant!

October 12, 2018 at 1:29 pm

Thanks for reading, Traci!!

October 11, 2018 at 2:03 pm

First of all, Who Dat!!!

Thank you so much for writing this article, Deborah. I loved that you explained that a writer needs to remember that diverse characters are still human beings. I also hate that you had to say that.

I had a small press from Mississippi, where I’m from, reach out to me about wanting to work with me. The minute they found out I was a lesbian they quickly let me know that they could not work with a story with LGBTQ+ characters, because they wouldn’t know how to market it. It was shocking and saddening. Needless to say, I did not work with them.

Thank you again, and I look forward to checking out your company and your work!

October 11, 2018 at 4:12 pm

Yeah you rite Keli!!!!

I’m sorry to hear about your experience with that press! And yet I’m not surprised. The inclusion of underrepresented writers ourselves is another topic that I’m passionate about, and fortunately I get to work toward that goal through Shalamar.

Being treated that way, particularly by a press that sought you out, had to have stung, and rightfully so; but, with the benefit of hindsight, people that closed-minded would have been rough to work with anyway, so maybe it was for the better, rudeness and prejudice aside.

(Marketing professionals are specifically taught to adapt to different audience, genres, and trends, so that excuse is always code for “we don’t want to work with you.”)

I hope you found a much better home for your writing, and would love to hear from you anytime!

October 11, 2018 at 10:23 am

Glad to have you here discussing something that I think confuses a lot of people because sometimes we can see part of the picture, but not the whole thing and so we don’t necessarily realize the ripples that come from stereotypes or the level of inequity out there.

In our fiction it is our job to make the reader feel part of another’s point of view. I think as a Caucasian and a Caucasian author, I need to work harder to do what I can to make sure all voices are represented. Change comes about through understanding, and this happens at all levels from governing entities to the drivers of industries to the producers of content and the consumers of that content.

Thanks for being here!

October 11, 2018 at 9:06 am

Hi everyone! Angela, thank you SO MUCH for your help and your kindness! You are an inspiration to me as an author advocate. <3

Readers: Thanks for checking out this article! I am happy to answer any further questions you might have here. You can also contact me directly if you'd prefer a one-on-one conversation.

Much love from New Orleans!

October 11, 2018 at 9:03 am

Thanks for being here today, Deborah!

October 11, 2018 at 3:59 pm

Hi Becca! Thanks for having me! 🙂

[…] Ackerman talks about the importance of inclusivity and perception.   Inclusivity prescribes that the characters in the texts that we use should be as […]

[…] Deborah Dixon examine representation in literature: why it’s important and how to handle it. […]

• SUGGESTED TOPICS
• The Magazine
• Newsletters
• Managing Yourself
• Managing Teams
• Work-life Balance
• The Big Idea
• Data & Visuals
• Reading Lists
• Case Selections
• HBR Learning
• Topic Feeds
• Account Settings
• Email Preferences

What It Takes to Give a Great Presentation

• Carmine Gallo

Five tips to set yourself apart.

Never underestimate the power of great communication. It can help you land the job of your dreams, attract investors to back your idea, or elevate your stature within your organization. But while there are plenty of good speakers in the world, you can set yourself apart out by being the person who can deliver something great over and over. Here are a few tips for business professionals who want to move from being good speakers to great ones: be concise (the fewer words, the better); never use bullet points (photos and images paired together are more memorable); don’t underestimate the power of your voice (raise and lower it for emphasis); give your audience something extra (unexpected moments will grab their attention); rehearse (the best speakers are the best because they practice — a lot).

I was sitting across the table from a Silicon Valley CEO who had pioneered a technology that touches many of our lives — the flash memory that stores data on smartphones, digital cameras, and computers. He was a frequent guest on CNBC and had been delivering business presentations for at least 20 years before we met. And yet, the CEO wanted to sharpen his public speaking skills.

• Carmine Gallo is a Harvard University instructor, keynote speaker, and author of 10 books translated into 40 languages. Gallo is the author of The Bezos Blueprint: Communication Secrets of the World’s Greatest Salesman  (St. Martin’s Press).

Partner Center

• Cambridge Dictionary +Plus

Meaning of presentation in English

Your browser doesn't support HTML5 audio

presentation noun ( EVENT )

• talk She will give a talk on keeping kids safe on the internet.
• lecture The lecture is entitled "War and the Modern American Presidency".
• presentation We were given a presentation of progress made to date.
• speech You might have to make a speech when you accept the award.
• address He took the oath of office then delivered his inaugural address.
• oration It was to become one of the most famous orations in American history.
• The presentation was a collaborative effort by all the children in the class .
• The charity invited the press to a presentation of its plans for the future .
• The magazine asked its readers to send in their comments about the new style of presentation.
• Jenny's retiring and I think there's going to be a small presentation this afternoon .
• Graduates must be in full academic dress at the presentation of certificates .
• call for papers
• extemporize
• maiden speech
• talk at someone

You can also find related words, phrases, and synonyms in the topics:

presentation noun ( APPEARANCE )

• adverse conditions
• good/bad karma idiom
• have it in you idiom
• unaffiliated
• undercurrent

presentation | American Dictionary

Presentation | business english, examples of presentation, collocations with presentation, presentation.

These are words often used in combination with presentation .

Click on a collocation to see more examples of it.

Translations of presentation

Get a quick, free translation!

Word of the Day

customer support

help and advice that a company makes available to customers when they have bought something

Searching out and tracking down: talking about finding or discovering things

Learn more with +Plus

• Recent and Recommended {{#preferredDictionaries}} {{name}} {{/preferredDictionaries}}
• Definitions Clear explanations of natural written and spoken English English Learner’s Dictionary Essential British English Essential American English
• Grammar and thesaurus Usage explanations of natural written and spoken English Grammar Thesaurus
• Pronunciation British and American pronunciations with audio English Pronunciation
• English–Chinese (Simplified) Chinese (Simplified)–English
• English–Chinese (Traditional) Chinese (Traditional)–English
• English–Dutch Dutch–English
• English–French French–English
• English–German German–English
• English–Indonesian Indonesian–English
• English–Italian Italian–English
• English–Japanese Japanese–English
• English–Norwegian Norwegian–English
• English–Polish Polish–English
• English–Portuguese Portuguese–English
• English–Spanish Spanish–English
• English–Swedish Swedish–English
• Dictionary +Plus Word Lists
• presentation (EVENT)
• presentation (APPEARANCE)
• American    Noun
• Business    Noun
• Collocations
• Translations
• All translations

To add presentation to a word list please sign up or log in.

Add presentation to one of your lists below, or create a new one.

{{message}}

Something went wrong.

There was a problem sending your report.

Ethos Definition

What is ethos? Here’s a quick and simple definition:

Ethos , along with logos and pathos , is one of the three "modes of persuasion" in rhetoric (the art of effective speaking or writing). Ethos is an argument that appeals to the audience by emphasizing the speaker's credibility and authority. If the speaker has a high-ranking position, is an expert in his or her field, or has had life experience relevant to a particular topic, anything the speaker says or does to ensure that the audience knows about and remembers these qualifications is an example of ethos .

Some additional key details about ethos:

• Ethos shares a root with the word "ethics ." This is helpful to remember because speakers often try to establish their own strong moral character by using ethos.
• The word "ethos" is also often used to refer to a community or organization's characteristic belief or spirit, as in the sentence, "We will not give you a larger bonus than your coworkers: that is against our company's ethos of fairness." However, this guide focuses specifically on the rhetorical technique of ethos used in literature and public speaking.
• The three "modes of persuasion"— pathos , logos , and ethos —were originally defined by Aristotle.
• While ethos appeals to an audience's instinctive respect for authority, logos appeals to the audience's sense of reason, and pathos appeals to the audience's emotions.
• Ethos is used in advertising just as often as it is used in public speaking and literature. Any commercial in which a celebrity endorses a product, for example, hopes to persuade its target audience by cultivating an aura of authority or expertise through its association with the celebrity—and is therefore an example of ethos.

How to Pronounce Ethos

Here's how to pronounce ethos: ee -thos

Ethos Explained

Aristotle (the ancient Greek philosopher and scientist) first defined e thos , along with logos and pathos , in his treatise on rhetoric, Ars Rhetorica. Together, he referred to e thos , logos , and pathos as the three modes of persuasion, or sometimes simply as "the appeals." Aristotle believed that in order to have ethos a good speaker must demonstrate three things:

• Phronesis : Sound reasoning, and relevant experience or expertise.
• Arete : Moral character.
• Eunoia : Good intentions towards the audience.

Aristotle argued that a speaker in possession of these three attributes will naturally impress the audience with his or her ethos , and as a result will be better able to influence that audience. Over time, however, the definition of ethos has broadened, and the significance of the three qualities Aristotle named is now lost on anyone who hasn't studied classical Greek. So it may give more insight into the meaning of ethos to translate Aristotle's three categories into a new set of categories that make more sense in the modern era. A speaker or writer's credibility can be said to rely on each of the following:

• Within literature, it's interesting to notice when characters attempt to invoke their own authority and enhance their ethos by reminding other characters of the titles they possess. Often, this can be an indication that the character citing his or her own credentials actually feels his or her authority being threatened or challenged.
• In literature, this form of ethos is particularly relevant with respect to narrators. Authors often have their narrators profess impartiality or objectivity at the outset of a book in order to earn the reader's trust in the narrator's reliability regarding the story he or she is about to tell.
• This type of ethos translates into literature quite easily, in the sense that characters' opinions are often evaluated within the framework of their professions.
• Literary characters often use ethos to communicate similarity or likemindedness to other characters, and you can detect this by certain changes in their speech. In these situations, characters (as well as real-life speakers) often use a shibboleth— a specialized term or word used by a specific group of people—to show that they belong. For example, if you knew the name of a special chemical used to make jello, and you wanted to impress the head of a jello company, the name of that chemical would count as a shibboleth and saying it would help you show the jello executive that you're "in the know."

The Stagecraft of Ethos

In order to impress their positive personal qualities upon audiences, public speakers can use certain techniques that aren't available to writers. These include:

• Speaking in a certain manner or even with a certain accent.
• Demonstrating confident stage presence.
• Having reputable people to introduce the speaker in a positive light.
• Listing their credentials and achievements.

Put another way, the ethos of a speech can be heavily impacted by the speaker's confidence and manner of presenting him or herself.

Ethos and Ad Hominem

An ad hominem argument is a specific type of argument which involves attacking someone else's character or ethos, rather than attacking that person's position or point of view on the subject being discussed. Ad hominem attacks usually have the goal of swaying an audience away from an opponent's views and towards one's own by degrading the audience's perception of the opponent's character. For instance, if one politician attacks another as being "elite," the attacker may be seeking to make voters question whether the other politician is trustworthy or actually has the public's interest at heart. But the first politician is not in any way attacking their opponent's positions on matters of policy.

An ad hominem argument is not necessarily "wrong" or even a bad strategy, but it's generally seen as more dignified (another component of ethos ) for speakers to focus on strengthening their own ethos, and to debate their opponents based on the substance of the opposition's counterarguments. When a literary character uses an ad hominem argument, this can sometimes indicate that he or she is insecure about his or her own position regarding a certain issue.

Ethos Examples

Examples of ethos in literature.

Characters in novels often use ethos , as well as logos and pathos , to convince one another of certain arguments in the same way that a speaker in reality might use these techniques. In addition, authors often use a subtler form of ethos when establishing a narrator's reliability at the outset of a novel.

Ethos in Ayn Rand's Atlas Shrugged

In Atlas Shrugged, a group of pioneering American industrialists, financiers, and artists go on strike against a corrupt government. As the strike nears its end, its leader—John Galt—delivers a speech to the nation about his ideals. He promises that the strike will end only if Americans allow him to remake the country according to his moral code, which he explains in the following lines:

Just as I support my life, neither by robbery nor alms, but by my own effort, so I do not seek to derive my happiness from the injury or the favor of others, but earn it by my own achievement. Just as I do not consider the pleasure of others as the goal of my life, so I do not consider my pleasure as the goal of the lives of others. Just as there are no contradictions in my values and no conflicts among my desires—so there are no victims and no conflicts of interest among rational men, men who do not desire the unearned and do not view one another with a cannibal's lust, men who neither make sacrifices nor accept them.

Galt not only creates an impression of moral rectitude, but also emphasizes his own self-sufficiency. He assures his audience that he expects nothing in return from them for sharing his personal views. In this way, his ability to cultivate an aura of impartiality and objectivity enhances his ethos.

Ethos in Nathaniel Hawthorne's The Scarlet Letter

The Scarlet Letter opens with a chapter called "The Custom-House," in which the unnamed narrator—who has a similar biography to Hawthorne—describes his job in a Custom House, a place where taxes were paid on imports in 18th century Massachusetts. The narrator's stories about his job have no relation to the actual narrative of The Scarlet Letter, except that he finds the scarlet letter of the title in the Custom House attic. This discovery inspired him to research the life of the woman who wore the embroidered letter, and to tell her story. By presenting himself as someone who merely discovered, researched, and "edited" the story the reader is about to begin, the narrator effectively creates the impression that his is a reliable historical account, thereby strengthening his ethos.

It will be seen, likewise, that this Custom-House sketch has a certain propriety, of a kind always recognised in literature, as explaining how a large portion of the following pages came into my possession, and as offering proofs of the authenticity of a narrative therein contained. This, in fact—a desire to put myself in my true position as editor, or very little more, of the most prolix among the tales that make up my volume—this, and no other, is my true reason for assuming a personal relation with the public.

Ethos in F. Scott Fitzgerald's The Great Gatsby

In the opening lines of The Great Gatsby , the narrator, Nick Carraway, claims that he has followed one piece of his father's advice throughout his life:

In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since. 'Whenever you feel like criticizing any one,' he told me, just remember that all the people in this world haven't had the advantages that you've had.'... In consequence I'm inclined to reserve all judgements, a habit that has opened up many curious natures to me and also made me the victim of not a few veteran bores. The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person, and so it came about that in college I was unjustly accused of being a politician, because I was privy to the secret griefs of wild, unknown men...

Nick's tendency to reserve judgement makes him an ideal, objective narrator, while his awareness of his own economic and social advantages makes him a perfect guide to the privileged world of The Great Gatsby. Though he describes his non-judgmental, "neutral" affect with self-deprecating humor, it's a subtle way of strengthening his ethos as a narrator, and of causing the reader to eagerly anticipate hearing the stories that "wild, unknown men" have shared with him.

Examples of Ethos in Political Speeches

Every politician recognizes that a speaker must earn an audience's respect and trust if he or she expects to be listened to. As a result, it's difficult to find a political speech that doesn't contain an example of ethos. It's particularly easy to spot ethos in action when listening to speeches by candidates for office.

Ethos in Mitt Romney's Acceptance Speech at the 2012 Republican National Convention

When he accepted the Republican presidential nomination in 2012, Romney pointed to his business success as relevant experience that would serve him well if he were to take office:

I learned the real lessons about how America works from experience. When I was 37, I helped start a small company. My partners and I had been working for a company that was in the business of helping other businesses. So some of us had this idea that if we really believed our advice was helping companies, we should invest in companies. We should bet on ourselves and on our advice. So we started a new business called Bain Capital...That business we started with 10 people has now grown into a great American success story. Some of the companies we helped start are names you know. An office supply company called Staples – where I'm pleased to see the Obama campaign has been shopping; The Sports Authority, which became a favorite of my sons. We started an early childhood learning center called Bright Horizons that First Lady Michelle Obama rightly praised.

In addition to strengthening his ethos by pointing to his past achievements, Romney also hopes to portray himself as principled, rational, and daring when he explains how his company decided to "bet on ourselves and on our advice."

Ethos in John Kasich's 2016 Ohio Primary Victory Speech

After winning his first campaign victory, 2016 presidential candidate John Kasich told his supporters about his disadvantaged yet hardworking relatives to contextualize his own rise to success:

And you know, ladies and gentlemen, my whole life has been about trying to create a climate of opportunity for people. You know, as my father carried that mail on his back and his father was a coal miner, and you know, I was just told by my cousin—I didn't realize this—that my mother, one of four [children]‚ was the only one to graduate from high school. The other three barely made it out of the eighth grade because they were poor... And you know, as I've traveled the country and I look into your eyes... You want to believe that your children are going to have ultimately a better America than what we got from our mothers and fathers. That's the great American legacy: that our kids will be better than we are.

By saying that he comes from a modest background, Kasich hopes to convey that he is "just a regular American" and that he will advocate for other hard working Americans.

Ethos in Winston Churchill's 1941 Address to Joint Session of the US Congress

In this speech to the US Congress during World War II, British Prime Minister Winston Churchill enhances the ethos of his speech by emphasizing both the qualities he shares in common with the American people and the American Democratic values instilled in him by his parents:

I am a child of the House of Commons. I was brought up in my father's house to believe in democracy. "Trust the people." That was his message. I used to see him cheered at meetings and in the streets by crowds of workingmen way back in those aristocratic Victorian days when as Disraeli said "the world was for the few, and for the very few." Therefore I have been in full harmony all my life with the tides which have flowed on both sides of the Atlantic against privilege and monopoly and I have steered confidently towards the Gettysburg ideal of government of the people, by the people, for the people.

Examples of Ethos in Advertisements

Advertisers often attempt to use ethos to influence people to buy their product. Dressing up an actor as a doctor who then extols the benefits a medication is a way that advertisers used to try to gin up a little ethos , but such obvious practices of what might be called "fake ethos" are now regularly mocked. However, any celebrity endorsement or testimonial from an expert are also attempts to build up ethos around a product's endorsement. For instance, here's a Prudential Financial commercial that ups its ethos with an appearance by Harvard social psychologist Dan Gilbert.

Why Do Writers Use Ethos?

Politicians, activists, and advertisers use ethos because they recognize that it is impossible to convince an audience of anything if its members do not believe in the speaker's credibility, morality, or authority.

The use of e thos in fiction is often different from real-world examples. Authors are not usually trying to directly influence their audience in the way politicians or advertisers are. Rather, authors often show one of their characters making use of ethos . In doing so, the author gives insight into characters' perceptions of one another, their values, and their motives.

In addition, e thos is an especially useful tool for authors looking to establish a narrator's credibility. Having a credible narrator is hugely important to the success of a literary work. Books with narrators that never establish a reasonable claim to an objective viewpoint are nearly impossible to read because everything they say is cast in doubt, so that readers come to feel like they're being lied to or "jerked around," which is fatiguing. Although often enough readers simply assume that a narrator has credibility , if you've ever read a book where you felt you simply didn't like the narrator very much—or watched a television show where you felt that none of the characters were likable or believable—that might be another sign that the writer has failed to establish a character's ethos . There are circumstances in which a writer creates an unreliable narrator —a narrator who is either purposefully or subconsciously offering a slanted narrative—but ethos is just as crucial in creating such a narrator: the author must first establish the narrator's ethos and then slowly undermine it over the course of the book.

Other Helpful Ethos Resources

• The Wikipedia Page on Ethos: An in-depth explanation of ethos , and how the concept has changed over time.
• The Dictionary Definition of Ethos: A definition and etymology of the term, which comes from the Greek ethos meaning "character, custom, or habit."
• Ethos on Youtube: An excellent video from TED-Ed about the three modes of persuasion.

• PDFs for all 136 Lit Terms we cover
• Downloads of 1924 LitCharts Lit Guides
• Teacher Editions for every Lit Guide
• Explanations and citation info for 40,556 quotes across 1924 books
• Downloadable (PDF) line-by-line translations of every Shakespeare play
• Antanaclasis
• Extended Metaphor
• Tragic Hero
• Juxtaposition
• Rhyme Scheme
• Round Character
• Onomatopoeia
• Connotation
• Flat Character

Got any suggestions?

We want to hear from you! Send us a message and help improve Slidesgo

Top searches

Trending searches

11 templates

28 templates

holy spirit

36 templates

islamic history

memorial day

12 templates

165 templates

Literature 101

Literature 101 presentation, premium google slides theme, powerpoint template, and canva presentation template.

Since you're a person that’s interested in learning more about literature, we introduce you to this template: Literature 101, the perfect way to explore the world of literature! With an elegant and sophisticated vintage design, our template uses pale colors and detailed ornamentation to bring literature to life. Explore the various elements of literature, from poetry to fiction to drama, all in one place. Whether you’re new to literature or a literature buff, this template has something for everyone. So, don’t wait! Download Literature 101 today and learn something new.

Features of this template

• 100% editable and easy to modify
• 35 different slides to impress your audience
• Contains easy-to-edit graphics such as graphs, maps, tables, timelines and mockups
• Includes 500+ icons and Flaticon’s extension for customizing your slides
• Designed to be used in Google Slides, Canva, and Microsoft PowerPoint
• 16:9 widescreen format suitable for all types of screens
• Includes information about fonts, colors, and credits of the resources used

What are the benefits of having a Premium account?

What Premium plans do you have?

What can I do to have unlimited downloads?

Don’t want to attribute Slidesgo?

Gain access to over 24000 templates & presentations with premium from 1.67€/month.

Are you already Premium? Log in

Related posts on our blog

How to Add, Duplicate, Move, Delete or Hide Slides in Google Slides

How to Change Layouts in PowerPoint

How to Change the Slide Size in Google Slides

Related presentations.

Premium template

Unlock this template and gain unlimited access

Register for free and start editing online