Setting is a structural element of a work of art that determines the spatial localization of the events described. It can function differently to shape the literary piece in which it is used. It becomes one of the most important categories for the epic genre, where it turns not only into a necessary background for the development of events, but also plays a role in the characterization of the actors. Setting is even more important in drama, since in this genre the place of action is reified.
In the story “The Visit of an old Lady” Friedrich Durenmatt also attached great importance to the place of action. The name of the small town of Gullen in Switzerland, where the action takes place, the name means “manure” (Spector-Mersel & Ben-Asher, 2018). The setting in this case symbolizes the economic decline of society, and the neglect of the city shows the falsity of Gulen residents. The first glance at the stage determined the atmosphere of the performance for the viewer, and, consequently, in general terms, its content.
In Julio Cortazar’s story “The Continuity of Parks”, the setting is displayed with a high degree of brightness, since it plays an important role in the narrative. In the beginning and development of the plot of the story, two cognitive maps of space exist independently of each other (Spector-Mersel & Ben-Asher, 2018). Their only point of contact is the oak park leading to the house, shapes the reader’s reaction at the climax, where the setting unites.
As one of Chesterton’s experiments with setting, his successful attempt to modify the detective genre in a series of stories about Father Brown can be considered. In the story ” The Incredulity of Father Brown”, the setting coincides with the setting, which is traditional for a classic detective (Spector-Mersel & Ben-Asher, 2018). However, it is with their help that the author expands the possibilities of the genre, exerting a philosophical and religious influence on the reader.
Reference
Spector-Mersel, G., & Ben-Asher, S. (2018). Styles of narrative selection in crafting life stories. Qualitative Research in Psychology, 40(9), 14-29.