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What is Literature? || Definition & Examples

"what is literature": a literary guide for english students and teachers.

View the full series: The Oregon State Guide to English Literary Terms

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What is Literature? Transcript (English and Spanish Subtitles Available in Video; Click HERE for Spanish Transcript)

By Evan Gottlieb & Paige Thomas

3 January 2022

The question of what makes something literary is an enduring one, and I don’t expect that we’ll answer it fully in this short video. Instead, I want to show you a few different ways that literary critics approach this question and then offer a short summary of the 3 big factors that we must consider when we ask the question ourselves.

Let’s begin by making a distinction between “Literature with a capital L” and “literature with a small l.”

“Literature with a small l” designates any written text: we can talk about “the literature” on any given subject without much difficulty.

“Literature with a capital L”, by contrast, designates a much smaller set of texts – a subset of all the texts that have been written.

what_is_literature_little_l.png

So what makes a text literary or what makes a text “Literature with a capital L”?

Let’s start with the word itself.  “Literature” comes from Latin, and it originally meant “the use of letters” or “writing.” But when the word entered the Romance languages that derived from Latin, it took on the additional meaning of “knowledge acquired from reading or studying books.” So we might use this definition to understand “Literature with a Capital L” as writing that gives us knowledge--writing that should be studied.

But this begs the further question: what books or texts are worth studying or close reading ?

For some critics, answering this question is a matter of establishing canonicity.  A work of literature becomes “canonical” when cultural institutions like schools or universities or prize committees classify it as a work of lasting artistic or cultural merit.

The canon, however, has proved problematic as a measure of what “Literature with a capital L” is because the gatekeepers of the Western canon have traditionally been White and male. It was only in the closing decades of the twentieth century that the canon of Literature was opened to a greater inclusion of diverse authors.

And here’s another problem with that definition: if inclusion in the canon were our only definition of Literature, then there could be no such thing as contemporary Literature, which, of course, has not yet stood the test of time.

And here’s an even bigger problem: not every book that receives good reviews or a wins a prize turns out to be of lasting value in the eyes of later readers.

On the other hand, a novel like Herman Melville’s Moby-Di ck, which was NOT received well by critics or readers when it was first published in 1851, has since gone on to become a mainstay of the American literary canon.

moby_dick_with_quote.png

As you can see, canonicity is obviously a problematic index of literariness.

So… what’s the alternative?  Well, we could just go with a descriptive definition: “if you love it, then it’s Literature!”

But that’s a little too subjective.  For example, no matter how much you may love a certain book from your childhood (I love The Very Hungry Caterpillar ) that doesn’t automatically make it literary, no matter how many times you’ve re-read it.

Furthermore, the very idea that we should have an emotional attachment to the books we read has its own history that cannot be detached from the rise of the middle class and its politics of telling people how to behave.

Ok, so “literature with a capital L” cannot always by defined by its inclusion in the canon or the fact that it has been well-received so…what is it then? Well, for other critics, what makes something Literature would seem to be qualities within the text itself.

According to the critic Derek Attridge, there are three qualities that define modern Western Literature:

1. a quality of invention or inventiveness in the text itself;

2.  the reader’s sense that what they are reading is singular. In other words, the unique vision of the writer herself.

3. a sense of ‘otherness’ that pushes the reader to see the world around them in a new way

Notice that nowhere in this three-part definition is there any limitation on the content of Literature. Instead, we call something Literature when it affects the reader at the level of style and construction rather than substance.

In other words, Literature can be about anything!

what_is_literature_caterpillar.png

The idea that a truly literary text can change a reader is of course older than this modern definition. In the English tradition, poetry was preferred over novels because it was thought to create mature and sympathetic reader-citizens.

Likewise, in the Victorian era, it was argued that reading so-called “great” works of literature was the best way for readers to realize their full spiritual potentials in an increasingly secular world.

But these never tell us precisely what “the best” is.  To make matters worse, as I mentioned already, “the best” in these older definitions was often determined by White men in positions of cultural and economic power.

So we are still faced with the question of whether there is something inherent in a text that makes it literary.

Some critics have suggested that a sense of irony – or, more broadly, a sense that there is more than one meaning to a given set of words – is essential to “Literature with a capital L.”

Reading for irony means reading slowly or at least attentively.  It demands a certain attention to the complexity of the language on the page, whether that language is objectively difficult or not.

In a similar vein, other critics have claimed that the overall effect of a literary text should be one of “defamiliarization,” meaning that the text asks or even forces readers to see the world differently than they did before reading it.

Along these lines, literary theorist Roland Barthes maintained that there were two kinds of texts: the text of pleasure, which we can align with everyday Literature with a small l” and the text of jouissance , (yes, I said jouissance) which we can align with Literature. Jouissance makes more demands on the reader and raises feelings of strangeness and wonder that surpass the everyday and even border on the painful or disorienting.

Barthes’ definition straddles the line between objectivity and subjectivity. Literature differs from the mass of writing by offering more and different kinds of experiences than the ordinary, non-literary text.

Literature for Barthes is thus neither entirely in the eye of the beholder, nor something that can be reduced to set of repeatable, purely intrinsic characteristics.

This negative definition has its own problems, though. If the literary text is always supposed to be innovative and unconventional, then genre fiction, which IS conventional, can never be literary.

So it seems that whatever hard and fast definition we attempt to apply to Literature, we find that we run up against inevitable exceptions to the rules.

As we examine the many problematic ways that people have defined literature, one thing does become clear. In each of the above examples, what counts as Literature depends upon three interrelated factors: the world, the text, and the critic or reader.

You see, when we encounter a literary text, we usually do so through a field of expectations that includes what we’ve heard about the text or author in question [the world], the way the text is presented to us [the text], and how receptive we as readers are to the text’s demands [the reader].

With this in mind, let’s return to where we started. There is probably still something to be said in favor of the “test of time” theory of Literature.

After all, only a small percentage of what is published today will continue to be read 10, 20, or even 100 years from now; and while the mechanisms that determine the longevity of a text are hardly neutral, one can still hope that individual readers have at least some power to decide what will stay in print and develop broader cultural relevance.

The only way to experience what Literature is, then, is to keep reading: as long as there are avid readers, there will be literary texts – past, present, and future – that challenge, excite, and inspire us.

Want to cite this?

MLA Citation: Gottlieb, Evan and Paige Thomas. "What is Literature?" Oregon State Guide to English Literary Terms, 3 Jan. 2022, Oregon State University, https://liberalarts.oregonstate.edu/wlf/what-literature-definition-examples. Accessed [insert date].

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Definition of Genre

When I fall in love, it will be forever.

Difference Between Style and Genre

Common examples of genre, common examples of fiction genre.

Here are some common examples of genre fiction and their characteristics:

Examples of Writers Associated with Specific Genre Fiction

Famous examples of genre in other art forms, examples of genre in literature.

As a literary device, the genre is like an implied social contract between writers and their readers. This does not mean that writers must abide by all conventions associated with a specific genre. However, there are organizational patterns within a genre that readers tend to expect. Genre expectations allow readers to feel familiar with the literary work and help them to organize the information presented by the writer. In addition, keeping with genre conventions can establish a writer’s relationship with their readers and a framework for their literature.

Example 1: Macbeth by William Shakespeare

Tomorrow, and tomorrow, and tomorrow , Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out , brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

The formal genre of this well-known literary work is Shakespearean drama or play. Macbeth can be sub-categorized as a literary tragedy in that the play features the elements of a classical tragic work. For example, Macbeth’s character aligns with the traits and path of a tragic hero –a protagonist whose tragic flaw brings about his downfall from power to ruin. This tragic arc of the protagonist often results in catharsis (emotional release) and potential empathy among readers and members of the audience .

Example 2: The Color Purple by Alice Walker

All my life I had to fight. I had to fight my daddy . I had to fight my brothers. I had to fight my cousins and my uncles. A girl child ain’t safe in a family of men. But I never thought I’d have to fight in my own house. She let out her breath. I loves Harpo, she say. God knows I do. But I’ll kill him dead before I let him beat me.

Example 3: A Word to Husbands by Ogden Nash

To keep your marriage brimming With love in the loving cup, Whenever you’re wrong, admit it; Whenever you’re right, shut up.

Synonyms of Genre

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What Literature Can Teach Us

Communication and research skills—and how to be a better human being

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Literature is a term used to describe written and sometimes spoken material. Derived from the Latin word  literature  meaning "writing formed with letters," literature most commonly refers to works of the creative imagination, including poetry, drama , fiction , nonfiction , and in some instances, journalism , and song. 

What Is Literature?

Simply put, literature represents the culture and tradition of a language or a people. The concept is difficult to precisely define, though many have tried; it's clear that the accepted definition of literature is constantly changing and evolving.

For many, the word literature suggests a higher art form; merely putting words on a page doesn't necessarily equate to creating literature. A canon is the accepted body of works for a given author. Some works of literature are considered canonical, that is, culturally representative of a particular genre (poetry, prose, or drama).

Literary Fiction vs. Genre Fiction

Some definitions also separate literary fiction from so-called "genre fiction," which includes types such as mystery, science fiction, western, romance, thriller, and horror. Think mass-market paperback.

Genre fiction typically does not have as much character development as literary fiction and is read for entertainment, escapism, and plot, whereas literary fiction explores themes common to the human condition and uses symbolism and other literary devices to convey the author's viewpoint on his or her chosen themes. Literary fiction involves getting into the minds of the characters (or at least the protagonist) and experiencing their relationships with others. The protagonist typically comes to a realization or changes in some way during the course of a literary novel.

(The difference in type does not mean that literary writers are better than genre fiction writers, just that they operate differently.)

Why Is Literature Important?

Works of literature, at their best, provide a kind of blueprint of human society. From the writings of ancient civilizations such as Egypt and China to Greek philosophy and poetry, from the epics of Homer to the plays of William Shakespeare, from Jane Austen and Charlotte Bronte to Maya Angelou , works of literature give insight and context to all the world's societies. In this way, literature is more than just a historical or cultural artifact; it can serve as an introduction to a new world of experience.

But what we consider to be literature can vary from one generation to the next. For instance, Herman Melville's 1851 novel " Moby Dick "   was considered a failure by contemporary reviewers. However, it has since been recognized as a masterpiece and is frequently cited as one of the best works of Western literature for its thematic complexity and use of symbolism. By reading "Moby Dick" in the present day, we can gain a fuller understanding of literary traditions in Melville's time. 

Debating Literature 

Ultimately, we may discover meaning in literature by looking at what the author writes or says and how he or she says it. We may interpret and debate an author's message by examining the words he or she chooses in a given novel or work or observing which character or voice serves as the connection to the reader.

In academia, this decoding of the text is often carried out through the use of  literary theory using a mythological, sociological, psychological, historical, or other approaches to better understand the context and depth of a work.

Whatever critical paradigm we use to discuss and analyze it, literature is important to us because it speaks to us, it is universal, and it affects us on a deeply personal level. 

School Skills

Students who study literature and read for pleasure have a higher vocabulary, better reading comprehension, and better communication skills, such as writing ability. Communication skills affect people in every area of their lives, from navigating interpersonal relationships to participating in meetings in the workplace to drafting intraoffice memos or reports.

When students analyze literature, they learn to identify cause and effect and are applying critical thinking skills. Without realizing it, they examine the characters psychologically or sociologically. They identify the characters' motivations for their actions and see through those actions to any ulterior motives.

When planning an essay on a work of literature, students use problem-solving skills to come up with a thesis and follow through on compiling their paper. It takes research skills to dig up evidence for their thesis from the text and scholarly criticism, and it takes organizational skills to present their argument in a coherent, cohesive manner.

Empathy and Other Emotions

Some studies say that people who read literature have more empathy for others, as literature puts the reader into another person's shoes. Having empathy for others leads people to socialize more effectively, solve conflicts peacefully, collaborate better in the workplace, behave morally, and possibly even become involved in making their community a better place.

Other studies note a correlation between readers and empathy but do not find causation . Either way, studies back the need for strong English programs in schools, especially as people spend more and more time looking at screens rather than books.

Along with empathy for others, readers can feel a greater connection to humanity and less isolated. Students who read literature can find solace as they realize that others have gone through the same things that they are experiencing or have experienced. This can be a catharsis and relief to them if they feel burdened or alone in their troubles.

Quotes About Literature

Here are some quotes about literature from literature giants themselves.

• Robert Louis Stevenson : "The difficulty of literature is not to write, but to write what you mean; not to affect your reader, but to affect him precisely as you wish."
• Jane Austen, "Northanger Abbey" : "The person, be it gentleman or lady, who has not pleasure in a good novel, must be intolerably stupid."
• William Shakespeare, "Henry VI" : “I’ll call for pen and ink and write my mind.”
• A List of Every Nobel Prize Winner in English Literature
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• What Is the Canon in Literature?
• Every Character in Moby Dick
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Broad and narrow conceptions of poetry

Translation.

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Literary composition

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Critical theories

If the early Egyptians or Sumerians had critical theories about the writing of literature, these have not survived. From the time of Classical Greece until the present day, however, Western criticism has been dominated by two opposing theories of the literary art, which might conveniently be called the expressive and constructive theories of composition .

The Greek philosopher and scholar Aristotle is the first great representative of the constructive school of thought. His Poetics (the surviving fragment of which is limited to an analysis of tragedy and epic poetry) has sometimes been dismissed as a recipe book for the writing of potboilers. Certainly, Aristotle is primarily interested in the theoretical construction of tragedy, much as an architect might analyze the construction of a temple, but he is not exclusively objective and matter of fact. He does, however, regard the expressive elements in literature as of secondary importance, and the terms he uses to describe them have been open to interpretation and a matter of controversy ever since.

The 1st-century Greek treatise On the Sublime (conventionally attributed to the 3rd-century Longinus) deals with the question left unanswered by Aristotle—what makes great literature “great”? Its standards are almost entirely expressive. Where Aristotle is analytical and states general principles, the pseudo-Longinus is more specific and gives many quotations: even so, his critical theories are confined largely to impressionistic generalities.

Thus, at the beginning of Western literary criticism, the controversy already exists. Is the artist or writer a technician, like a cook or an engineer, who designs and constructs a sort of machine that will elicit an aesthetic response from his audience? Or is he a virtuoso who above all else expresses himself and, because he gives voice to the deepest realities of his own personality, generates a response from his readers because they admit some profound identification with him? This antithesis endures throughout western European history— Scholasticism versus Humanism , Classicism versus Romanticism , Cubism versus Expressionism —and survives to this day in the common judgment of our contemporary artists and writers. It is surprising how few critics have declared that the antithesis is unreal, that a work of literary or plastic art is at once constructive and expressive, and that it must in fact be both.

Critical theories of literature in Asian cultures , however, have been more varied. There is an immense amount of highly technical, critical literature in India . Some works are recipe books, vast collections of tropes and stylistic devices; others are philosophical and general. In the best period of Indian literature , the cultural climax of Sanskrit (c. 320–490), it is assumed by writers that expressive and constructive factors are twin aspects of one reality. The same could be said of the Chinese, whose literary manuals and books on prosody and rhetoric are, as with the West, relegated to the class of technical handbooks, while their literary criticism is concerned rather with subjective, expressive factors—and so aligns itself with the pseudo-Longinus’ “sublime.” In Japan , technical, stylistic elements are certainly important (Japanese discrimination in these matters is perhaps the most refined in the world), but both writer and reader above all seek qualities of subtlety and poignancy and look for intimations of profundity often so evanescent as to escape entirely the uninitiated reader.

East Asian literary tradition has raised the question of the broad and narrow definitions of poetry (a question familiar in the West from Edgar Allan Poe ’s advocacy of the short poem in his “Poetic Principle” [1850]). There are no long epic poems in Chinese, no verse novels of the sort written in England by Robert Browning or Alfred Lord Tennyson in the 19th century. In Chinese drama , apart from a very few of the songs, the verse as such is considered doggerel . The versified treatises on astronomy, agriculture, or fishing, of the sort written in Greek and Roman times and during the 18th century in the West, are almost unknown in East Asia . Chinese poetry is almost exclusively lyric , meditative, and elegiac, and rarely does any poem exceed 100 lines—most are little longer than Western sonnets; many are only quatrains. In Japan this tendency to limit length was carried even further. The ballad survives in folk poetry, as it did in China, but the “long poem” of very moderate length disappeared early from literature. For the Japanese, the tanka is a “long poem”: in its common form it has 31 syllables; the sedōka has 38; the dodoitsu , imitating folk song, has 26. From the 17th century and onward, the most popular poetic form was the haiku , which has only 17 syllables.

This development is relevant to the West because it spotlights the ever-increasing emphasis which has been laid on intensity of communication , a characteristic of Western poetry (and of literature generally) as it has evolved since the late 19th century. In East Asia all cultivated people were supposed to be able to write suitable occasional poetry, and so those qualities that distinguished a poem from the mass consequently came to be valued above all others. Similarly, as modern readers in the West struggle with a “communication avalanche” of words, they seek in literature those forms, ideas, values, vicarious experiences, and styles that transcend the verbiage to be had on every hand.

Literary language

In some literatures (notably classical Chinese, Old Norse, Old Irish), the language employed is quite different from that spoken or used in ordinary writing. This marks off the reading of literature as a special experience. In the Western tradition, it is only in comparatively modern times that literature has been written in the language of common speech. The Elizabethans did not talk like Shakespeare nor 18th-century people in the stately prose of Samuel Johnson or Edward Gibbon (the so-called Augustan plain style in literature became popular in the late 17th century and flourished throughout the 18th, but it was really a special form of rhetoric with antecedent models in Greek and Latin). The first person to write major works of literature in the ordinary English language of educated people was Daniel Defoe (1660?–1731), and it is remarkable how little the language has changed since. Robinson Crusoe (1719) is much more contemporary in tone than the elaborate prose of 19th-century writers like Thomas De Quincey or Walter Pater . (Defoe’s language is not, in fact, so very simple: simplicity is itself one form of artifice.)

Other writers have sought to use language for its most subtle and complex effects and have deliberately cultivated the ambiguity inherent in the multiple or shaded meanings of words. Between the two world wars, “ambiguity” became very fashionable in English and American poetry and the ferreting out of ambiguities—from even the simplest poem—was a favorite critical sport. T.S. Eliot in his literary essays is usually considered the founder of this movement. Actually, the platform of his critical attitudes is largely moral , but his two disciples , I.A. Richards in Principles of Literary Criticism (1924) and William Empson in Seven Types of Ambiguity (1930), carried his method to extreme lengths. The basic document of the movement is C.K. Ogden and I.A. Richards’ The Meaning of Meaning (1923), a work of enormous importance in its time. Only a generation later, however, their ideas were somewhat at a discount. However, ambiguity remained a principal shaping tool for the writer and a primary focus in literary criticism.

Certainly, William Blake or Thomas Campion , when they were writing their simple lyrics, were unaware of the ambiguities and multiple meanings that future critics would find in them. Nevertheless, language is complex. Words do have overtones; they do stir up complicated reverberations in the mind that are ignored in their dictionary definitions. Great stylists, and most especially great poets, work with at least a half-conscious, or subliminal, awareness of the infinite potentialities of language. This is one reason why the essence of most poetry and great prose is so resistant to translation (quite apart from the radically different sound patterns that are created in other-language versions). The translator must project himself into the mind of the original author; he must transport himself into an entirely different world of relationships between sounds and meanings, and at the same time he must establish an equivalence between one infinitely complex system and another. Since no two languages are truly equivalent in anything except the simplest terms, this is a most difficult accomplishment. Certain writers are exceptionally difficult to translate. There are no satisfactory English versions, for example, of the Latin of Catullus , the French of Baudelaire , the Russian of Pushkin , or of the majority of Persian and Arabic poetry. The splendor of Sophocles ’ Greek, of Plato at his best, is barely suggested even in the finest English versions. On the other hand, the Germans insist that Shakespeare is better in German than he is in English, a humorous exaggeration perhaps. But again, Shakespeare is resistant to translation into French. His English seems to lack equivalents in that language.

The very greatest translations may become classics in their own right, of enduring literary excellence (the King James Version of the Bible , appearing in 1611, is an outstanding example), but on the whole the approximate equivalence of most translations to their originals seems to have a very short life. The original work remains the same, of lasting value to its own people, but the translation becomes out of date with each succeeding generation as the language and criteria of literary taste change. Nothing demonstrates the complexity of literary language more vividly. An analogous process takes place when a reader experiences a literary work in his own language; each generation gets a “new version” from its own classics.

Yet the values of great literature are more fundamental than complexity and subtleties of meaning arising from language alone. Works far removed from contemporary humankind in time and in cultural background, composed in a variety of languages utterly different from one another in structure, have nevertheless been translated successfully enough to be deeply moving. The 20th century witnessed an immense mass of the oral literature of preliterate peoples and of the writings of all the great civilizations translated into modern languages. Translations of these literatures often distorted the original stories and, at best, captured only their essence. However, without these translations, such stories would most likely be forever lost.

• Literary Terms
• Definition & Examples
• When & How to Write a Character

I. What is Character?

A character is a person, animal, being, creature, or thing in a story. Writers use characters to perform the actions and speak dialogue, moving the story along a plot line. A story can have only one character (protagonist) and still be a complete story. This character’s conflict may be an inner one (within him/herself), or a conflict with something natural, such as climbing a mountain. Most stories have multiple characters interacting, with one of them as the antagonist, causing a conflict for the protagonist.

II. Examples of Character

A popular television series that just ended is the show “Glee.” Each season had popular characters who had to learn to work together to create a good musical production. Various characters underwent a change, making them a dynamic character, such as Noah Puckerman. He appears to carry out the stereotype of a jock (strong but not so smart), but his character changes as it’s revealed that he can be hard working and intelligent.

A movie that features one character throughout most of it is “Castaway” with Tom Hanks. His character is on board a shipping plane when it crashes. He’s the only survivor, trapped on an island for four years. This movie focuses on his psychological (mental) and physical condition as he slowly adapts to a life of isolation, living alone on an island that is off all regular sea and airplane routes. It’s a great example of how a story can work with only one character, although many minor characters appear in the beginning and end.

III. Types of Character

A. major characters.

These are the most important characters in the story. There are two types, of which there may be a couple for each.

• Protagonist – This is the main character, around which the whole story revolves. The decisions made by this character will be affected by a conflict from within, or externally through another character, nature, technology, society, or the fates/God.
• Antagonist – This character, or group of characters, causes the conflict for the protagonist. However, the antagonist could be the protagonist, who is torn by a problem within. Most times, something external is causing the problem. A group of people causing the conflict would be considered society, perhaps the members of a team, community, or institution. Additionally, the antagonist could be a part of nature, such as an animal, the weather, a mountain or lake. A different kind of antagonist would be an item such as a pen, car, phone, carpet, etc. These are all considered technology, since they are instruments or tools to complete a job. Finally, if the conflict comes from something out of the character’s control, the antagonist is fate or God.

b. Minor characters

These are the other characters in a story. They are not as important as the major characters, but still play a large part in the story. Their actions help drive the story forward. They may impact the decisions the protagonist or antagonist make, either helping or interfering with the conflict.

Characters can have different traits. Major characters will usually be more dynamic, changing and growing through the story while minor characters may be more static.

• Foil – A foil is a character that has opposite character traits from another, meant to help highlight or bring out another’s positive or negative side. Many times, the antagonist is the foil for the protagonist.
• Static – Characters who are static do not change throughout the story. Their use may simply be to create or relieve tension, or they were not meant to change. A major character can remain static through the whole story.
• Dynamic – Dynamic characters change throughout the story. They may learn a lesson, become bad, or change in complex ways.
• Flat – A flat character has one or two main traits, usually only all positive or negative. They are the opposite of a round character. The flaw or strength has its use in the story.
• Round – These are the opposite of the flat character. These characters have many different traits, good and bad, making them more interesting.
• Stock – These are the stereotypical characters, such as the boy genius, ambitious career person, faithful sidekick, mad scientist, etc.

IV. The Importance of Character

Characters are what make stories. Without a character, there is no story to tell, only a lot of scenery. Many characters in literature, television series, and movies have a huge impact on people. Some people like to live their lives through these characters, who appear to have more exciting lives.  Also, these characters may seem so real and inspirational, that people forget they are fictional.

Characters become so important to the audience, that cities across the country hold conventions in which people pay a lot of money to dress and act as their favorite characters from multiple types of shows, particularly of the comic magazine genre (type of literature).

V. Examples of Character in Pop Culture

The Teenage Mutant Ninja Turtles have been keeping the city safe since the 1980s, but are still just as popular today. They each have their own special fighting method as well as personality. Originally simple, small turtles, they became super human, err turtle, after an accident in which the fish bowl of water they were in got knocked out of their owner’s hands and fell down a sewer grate, along with a canister of radioactive material. The rest is history. Nickelodeon has brought the characters back to fame, as can be seen on the channel and in the Nickelodeon Hotel in Orlando, Florida. The hotel features suites based on characters from the Nickelodeon shows for kids, and kids can interact with their favorite characters, including the Turtles, during breakfast and fun events. It’s clear that characters are an important part of our culture.

The characters are named after famous painters, and each turtle has his own personality to which different kids may relate. For example, Leonardo is the wise leader, the one who can keep the group focused. Raphael is the hothead. His temper wants to get the best of him, just as most of us would like to jump into things! Michaelangelo is the comedian. Like our class clowns in school, he’s the group clown. Finally, no group is complete without the geeky nerd. Donatello is always inventing things to help our turtle heroes in their adventures .

VI. Examples of Character in Literature

A book whose character was inspired by a real teenage girl is “The Fault in Our Stars” by John Green. The protagonist is 16-year-old Hazel, who meets Gus, a fellow 16-year-old cancer patient, at a camp. Their young romance is doomed as they are fighting a losing battle with cancer. Their strong spirits overcome their parents’ fears as the determined Hazel gets her wish to go overseas to meet an author she has long admired. The book has both characters undergoing change, very dynamic, as they struggle to adapt to their fate. The minor characters are impacted by the decisions Hazel and Gus make, giving depth to the story line. This book is an example of how authors take real life situations to create believable and interesting characters. Green’s inspiration for the story, Esther Earl, was a young fan with cancer who had wanted to meet him. He became friends with her and her family. She was diagnosed with cancer at 12 and died at 16.

VII. Related Terms

Archetype: A standard or stock type of character that appears in fiction, such as the villain, the hero, the damsel-in-distress, or the sidekick. Each archetype has more categories within, as well. For example, the villain could be a tyrant, devil, schemer, etc. The hero could be the warrior, proto-female, scapegoat, etc. These are especially common in fairy and folk tales.

VIII. Conclusion

Characters are the whole reason for any story. They can be used to help teach a lesson, to entertain, to educate, and even to persuade, depending on the author’s goal for the story line. Characters can be based on real people and events, or be totally unrealistic, such as space aliens. People become attached to characters as if they are real, may develop favorites, and relate to those that have faced similar situations.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
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• Connotation
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• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

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Theme Definition

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

A theme is a universal idea, lesson, or message explored throughout a work of literature. One key characteristic of literary themes is their universality, which is to say that themes are ideas that not only apply to the specific characters and events of a book or play, but also express broader truths about human experience that readers can apply to their own lives. For instance, John Steinbeck's The Grapes of Wrath (about a family of tenant farmers who are displaced from their land in Oklahoma) is a book whose themes might be said to include the inhumanity of capitalism, as well as the vitality and necessity of family and friendship.

Some additional key details about theme:

• All works of literature have themes. The same work can have multiple themes, and many different works explore the same or similar themes.
• Themes are sometimes divided into thematic concepts and thematic statements . A work's thematic concept is the broader topic it touches upon (love, forgiveness, pain, etc.) while its thematic statement is what the work says about that topic. For example, the thematic concept of a romance novel might be love, and, depending on what happens in the story, its thematic statement might be that "Love is blind," or that "You can't buy love . "
• Themes are almost never stated explicitly. Oftentimes you can identify a work's themes by looking for a repeating symbol , motif , or phrase that appears again and again throughout a story, since it often signals a recurring concept or idea.

Theme Pronunciation

Here's how to pronounce theme: theem

Identifying Themes

Every work of literature—whether it's an essay, a novel, a poem, or something else—has at least one theme. Therefore, when analyzing a given work, it's always possible to discuss what the work is "about" on two separate levels: the more concrete level of the plot (i.e., what literally happens in the work), as well as the more abstract level of the theme (i.e., the concepts that the work deals with). Understanding the themes of a work is vital to understanding the work's significance—which is why, for example, every LitCharts Literature Guide uses a specific set of themes to help analyze the text.

Although some writers set out to explore certain themes in their work before they've even begun writing, many writers begin to write without a preconceived idea of the themes they want to explore—they simply allow the themes to emerge naturally through the writing process. But even when writers do set out to investigate a particular theme, they usually don't identify that theme explicitly in the work itself. Instead, each reader must come to their own conclusions about what themes are at play in a given work, and each reader will likely come away with a unique thematic interpretation or understanding of the work.

Symbol, Motif, and Leitwortstil

Writers often use three literary devices in particular—known as symbol , motif , and leitwortstil —to emphasize or hint at a work's underlying themes. Spotting these elements at work in a text can help you know where to look for its main themes.

• Near the beginning of Romeo and Juliet , Benvolio promises to make Romeo feel better about Rosaline's rejection of him by introducing him to more beautiful women, saying "Compare [Rosaline's] face with some that I shall show….and I will make thee think thy swan a crow." Here, the swan is a symbol for how Rosaline appears to the adoring Romeo, while the crow is a symbol for how she will soon appear to him, after he has seen other, more beautiful women.
• Symbols might occur once or twice in a book or play to represent an emotion, and in that case aren't necessarily related to a theme. However, if you start to see clusters of similar symbols appearing in a story, this may mean that the symbols are part of an overarching motif, in which case they very likely are related to a theme.
• For example, Shakespeare uses the motif of "dark vs. light" in Romeo and Juliet to emphasize one of the play's main themes: the contradictory nature of love. To develop this theme, Shakespeare describes the experience of love by pairing contradictory, opposite symbols next to each other throughout the play: not only crows and swans, but also night and day, moon and sun. These paired symbols all fall into the overall pattern of "dark vs. light," and that overall pattern is called a motif.
• A famous example is Kurt Vonnegut's repetition of the phrase "So it goes" throughout his novel Slaughterhouse Five , a novel which centers around the events of World War II. Vonnegut's narrator repeats the phrase each time he recounts a tragic story from the war, an effective demonstration of how the horrors of war have become normalized for the narrator. The constant repetition of the phrase emphasizes the novel's primary themes: the death and destruction of war, and the futility of trying to prevent or escape such destruction, and both of those things coupled with the author's skepticism that any of the destruction is necessary and that war-time tragedies "can't be helped."

Symbol, motif and leitwortstil are simply techniques that authors use to emphasize themes, and should not be confused with the actual thematic content at which they hint. That said, spotting these tools and patterns can give you valuable clues as to what might be the underlying themes of a work.

Thematic Concepts vs. Thematic Statements

A work's thematic concept is the broader topic it touches upon—for instance:

• Forgiveness

while its thematic statement is the particular argument the writer makes about that topic through his or her work, such as:

• Human judgement is imperfect.
• Love cannot be bought.
• Getting revenge on someone else will not fix your problems.
• Learning to forgive is part of becoming an adult.

Should You Use Thematic Concepts or Thematic Statements?

Some people argue that when describing a theme in a work that simply writing a thematic concept is insufficient, and that instead the theme must be described in a full sentence as a thematic statement. Other people argue that a thematic statement, being a single sentence, usually creates an artificially simplistic description of a theme in a work and is therefore can actually be more misleading than helpful. There isn't really a right answer in this debate.

In our LitCharts literature study guides , we usually identify themes in headings as thematic concepts, and then explain the theme more fully in a few paragraphs. We find thematic statements limiting in fully exploring or explaining a the theme, and so we don't use them. Please note that this doesn't mean we only rely on thematic concepts—we spend paragraphs explaining a theme after we first identify a thematic concept. If you are asked to describe a theme in a text, you probably should usually try to at least develop a thematic statement about the text if you're not given the time or space to describe it more fully. For example, a statement that a book is about "the senselessness of violence" is a lot stronger and more compelling than just saying that the book is about "violence."

Identifying Thematic Statements

One way to try to to identify or describe the thematic statement within a particular work is to think through the following aspects of the text:

• Plot: What are the main plot elements in the work, including the arc of the story, setting, and characters. What are the most important moments in the story? How does it end? How is the central conflict resolved?
• Protagonist: Who is the main character, and what happens to him or her? How does he or she develop as a person over the course of the story?
• Prominent symbols and motifs: Are there any motifs or symbols that are featured prominently in the work—for example, in the title, or recurring at important moments in the story—that might mirror some of the main themes?

After you've thought through these different parts of the text, consider what their answers might tell you about the thematic statement the text might be trying to make about any given thematic concept. The checklist above shouldn't be thought of as a precise formula for theme-finding, but rather as a set of guidelines, which will help you ask the right questions and arrive at an interesting thematic interpretation.

Theme Examples

The following examples not only illustrate how themes develop over the course of a work of literature, but they also demonstrate how paying careful attention to detail as you read will enable you to come to more compelling conclusions about those themes.

Themes in F. Scott Fitzgerald's The Great Gatsby

Fitzgerald explores many themes in The Great Gatsby , among them the corruption of the American Dream .

• The story's narrator is Minnesota-born Nick Caraway, a New York bonds salesman. Nick befriends Jay Gatsby, the protagonist, who is a wealthy man who throws extravagant parties at his mansion.
• The central conflict of the novel is Gatsby's pursuit of Daisy, whom he met and fell in love with as a young man, but parted from during World War I.
• He makes a fortune illegally by bootlegging alcohol, to become the sort of wealthy man he believes Daisy is attracted to, then buys a house near her home, where she lives with her husband.
• While he does manage to re-enter Daisy's life, she ultimately abandons him and he dies as a result of her reckless, selfish behavior.
• Gatsby's house is on the water, and he stares longingly across the water at a green light that hangs at the edge of a dock at Daisy's house which sits across a the bay. The symbol of the light appears multiple times in the novel—during the early stages of Gatsby's longing for Daisy, during his pursuit of her, and after he dies without winning her love. It symbolizes both his longing for daisy and the distance between them (the distance of space and time) that he believes (incorrectly) that he can bridge. 
• In addition to the green light, the color green appears regularly in the novel. This motif of green broadens and shapes the symbolism of the green light and also influences the novel's themes. While green always remains associated with Gatsby's yearning for Daisy and the past, and also his ambitious striving to regain Daisy, it also through the motif of repeated green becomes associated with money, hypocrisy, and destruction. Gatsby's yearning for Daisy, which is idealistic in some ways, also becomes clearly corrupt in others, which more generally impacts what the novel is saying about dreams more generally and the American Dream in particular. 

Gatsby pursues the American Dream, driven by the idea that hard work can lead anyone from poverty to wealth, and he does so for a single reason: he's in love with Daisy. However, he pursues the dream dishonestly, making a fortune by illegal means, and ultimately fails to achieve his goal of winning Daisy's heart. Furthermore, when he actually gets close to winning Daisy's heart, she brings about his downfall. Through the story of Gatsby and Daisy, Fitzgerald expresses the point of view that the American Dream carries at its core an inherent corruption. You can read more about the theme of The American Dream in The Great Gatsby here .

Themes in Chinua Achebe's Things Fall Apart

In Things Fall Apart , Chinua Achebe explores the theme of the dangers of rigidly following tradition .

• Okonkwo is obsessed with embodying the masculine ideals of traditional Igbo warrior culture.
• Okonkwo's dedication to his clan's traditions is so extreme that it even alienates members of his own family, one of whom joins the Christians.
• The central conflict: Okonkwo's community adapts to colonization in order to survive, becoming less warlike and allowing the minor injustices that the colonists inflict upon them to go unchallenged. Okonkwo, however, refuses to adapt.
• At the end of the novel, Okonkwo impulsively kills a Christian out of anger. Recognizing that his community does not support his crime, Okonkwo kills himself in despair.
• Clanswomen who give birth to twins abandon the babies in the forest to die, according to traditional beliefs that twins are evil.
• Okonkwo kills his beloved adopted son, a prisoner of war, according to the clan's traditions.
• Okonkwo sacrifices a goat in repentence, after severely beating his wife during the clan's holy week.

Through the tragic story of Okonkwo, Achebe is clearly dealing with the theme of tradition, but a close examination of the text reveals that he's also making a clear thematic statement that following traditions too rigidly leads people to the greatest sacrifice of all: that of personal agency . You can read more about this theme in Things Fall Apart   here .

Themes in Robert Frost's The Road Not Taken

Poem's have themes just as plot-driven narratives do. One theme that Robert Frost explores in this famous poem,  The Road Not Taken ,  is the illusory nature of free will .

• The poem's speaker stands at a fork in the road, in a "yellow wood."
• He (or she) looks down one path as far as possible, then takes the other, which seems less worn.
• The speaker then admits that the paths are about equally worn—there's really no way to tell the difference—and that a layer of leaves covers both of the paths, indicating that neither has been traveled recently.
• After taking the second path, the speaker finds comfort in the idea of taking the first path sometime in the future, but acknowledges that he or she is unlikely to ever return to that particular fork in the woods.
• The speaker imagines how, "with a sigh" she will tell someone in the future, "I took the road less travelled—and that has made all the difference."
• By wryly predicting his or her own need to romanticize, and retroactively justify, the chosen path, the speaker injects the poem with an unmistakeable hint of irony .
• The speaker's journey is a symbol for life, and the two paths symbolize different life paths, with the road "less-travelled" representing the path of an individualist or lone-wolf. The fork where the two roads diverge represents an important life choice. The road "not taken" represents the life path that the speaker would have pursued had he or she had made different choices.

Frost's speaker has reached a fork in the road, which—according to the symbolic language of the poem—means that he or she must make an important life decision. However, the speaker doesn't really know anything about the choice at hand: the paths appear to be the same from the speaker's vantage point, and there's no way he or she can know where the path will lead in the long term. By showing that the only truly informed choice the speaker makes is how he or she explains their decision after they have already made it , Frost suggests that although we pretend to make our own choices, our lives are actually governed by chance.

What's the Function of Theme in Literature?

Themes are a huge part of what readers ultimately take away from a work of literature when they're done reading it. They're the universal lessons and ideas that we draw from our experiences of works of art: in other words, they're part of the whole reason anyone would want to pick up a book in the first place!

It would be difficult to write any sort of narrative that did not include any kind of theme. The narrative itself would have to be almost completely incoherent in order to seem theme-less, and even then readers would discern a theme about incoherence and meaninglessness. So themes are in that sense an intrinsic part of nearly all writing. At the same time, the themes that a writer is interested in exploring will significantly impact nearly all aspects of how a writer chooses to write a text. Some writers might know the themes they want to explore from the beginning of their writing process, and proceed from there. Others might have only a glimmer of an idea, or have new ideas as they write, and so the themes they address might shift and change as they write. In either case, though, the writer's ideas about his or her themes will influence how they write. 

One additional key detail about themes and how they work is that the process of identifying and interpreting them is often very personal and subjective. The subjective experience that readers bring to interpreting a work's themes is part of what makes literature so powerful: reading a book isn't simply a one-directional experience, in which the writer imparts their thoughts on life to the reader, already distilled into clear thematic statements. Rather, the process of reading and interpreting a work to discover its themes is an exchange in which readers parse the text to tease out the themes they find most relevant to their personal experience and interests.

Other Helpful Theme Resources

• The Wikipedia Page on Theme: An in-depth explanation of theme that also breaks down the difference between thematic concepts and thematic statements.
• The Dictionary Definition of Theme: A basic definition and etymology of the term.
• In this instructional video , a teacher explains her process for helping students identify themes.

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• Open access
• Published: 26 June 2024

WHO, WHEN, HOW: a scoping review on flexible at-home respite for informal caregivers of older adults

• Maude Viens 1 , 2 ,
• Alexandra Éthier 1 , 2 ,
• Véronique Provencher 1 , 2 &
• Annie Carrier 1 , 2  

BMC Health Services Research volume  24 , Article number:  767 ( 2024 ) Cite this article

93 Accesses

Metrics details

As the world population is aging, considerable efforts need to be put towards developing and maintaining evidenced-based care for older adults. Respite services are part of the selection of homecare offered to informal caregivers. Although current best practices around respite are rooted in person centeredness, there is no integrated synthesis of its flexible components. Such a synthesis could offer a better understanding of key characteristics of flexible respite and, as such, support its implementation and use.

To map the literature around the characteristics of flexible at-home respite for informal caregivers of older adults, a scoping study was conducted. Qualitative data from the review was analyzed using content analysis. The characterization of flexible at-home respite was built on three dimensions: WHO , WHEN and HOW . To triangulate the scoping results, an online questionnaire was distributed to homecare providers and informal caregivers of older adults.

A total of 42 documents were included in the review. The questionnaire was completed by 105 participants. The results summarize the characteristics of flexible at-home respite found in the literature. Flexibility in respite can be understood through three dimensions: (1) WHO is tendering it, (2) WHEN it is tendered and (3) HOW it is tendered. Firstly, human resources ( WHO ) must be compatible with the homecare sector as well as being trained and qualified to offer respite to informal caregivers of older adults. Secondly, flexible respite includes considerations of time, duration, frequency, and predictability ( WHEN ). Lastly, flexible at-home respite exhibits approachability, appropriateness, affordability, availability, and acceptability ( HOW ). Overall, flexible at-home respite adjusts to the needs of the informal caregiver and care recipient in terms of WHO , WHEN , and HOW .

This review is a step towards a more precise definition of flexible at-home respite. Flexibility of homecare, in particular respite, must be considered when designing, implementing and evaluating services.

Peer Review reports

It is an undeniable fact that the world population is aging [ 1 ]. The World Health Organization [ 1 ] estimates that from 2015 to 2050, the percentage of people over 60 years of age will nearly double (from 12 to 22%). Governments must therefore put in place policies, laws and funding infrastructures to provide evidence-based social services and healthcare that are in line with best practices to allow people to age in place [ 2 ]. Aging in place refers to “the ability to live in one’s own home and community safely, independently, and comfortably, regardless of age, income, or ability level” [ 3 ]. Relevant literature indicates that people do not want to age or end their lives in institutionalized care; most wish to receive care in their home and remain in their community with their informal caregivers [ 4 ].

There is then a need to adequately support informal caregivers (caregiver) in the crucial role that they have in allowing older adults to age in their own home. A caregiver is “a person who provides some type of unpaid, ongoing assistance with activities of daily living or instrumental activities of daily living” [ 5 ]. In their duties, caregivers of older adults are responsible for a considerable amount of homecare [ 6 ]: Transportation, management of appointments and bills, domestic chores, etc. Private and public organizations offer a plethora of services to support caregivers of older adults (e.g., support groups, housekeeping, etc.), including respite. Respite is a service for caregivers consisting in “the temporary provision of care for a person, at home or in an institution, by people other than the primary caregiver” [ 7 ]. Maayan and collaborators [ 7 ] characterize all respite services according to three dimensions: (1) WHERE : The place; in a private home, a daycare centre or a residential setting, (2) WHEN : The duration and planning; ranging from a couple of hours to a number of weeks, planned or unplanned, and finally, (3) WHO : The person providing the service; this may be trained or untrained individuals, paid staff or volunteers. Respite is widely recognized as necessary to support caregivers of older adults [ 8 , 9 ]. Indeed, a large number of studies identify the need and use for respite [ 9 , 10 , 11 , 12 ]. For example, Dal Santo and colleagues (2007) found that caregivers of older adults ( n  = 1643) used respite to manage stressful caregiving situations, but also to have a “time away”, without having to worry about their caregiving role [ 13 ]. At-home respite seems to be favoured over other forms of respite, even with the perceived drawbacks, such as the privacy breach of having a care worker in one’s home [ 14 , 15 ].

Studies suggest that caregivers of older adults seek flexibility as a main component of respite [ 16 , 17 , 18 ]. Flexibility, in line with person-centered care, allows respite that addresses their needs, rather than being services that are prescribed according to other criteria [ 16 , 17 ]. Thus, flexibility, both in accessing and in the respite itself, is essential [ 19 , 20 , 21 , 22 , 23 ]. Although there seems to be a consensus around the broader definition of respite, there is no literature reviewing the characteristics of flexible at-home respite. Some studies and reports from organizations and governments document the flexible characteristics of their models, but there are few literature reviews that address them, specifically [ 18 , 22 , 24 ]. Both reviews by Shaw et al. [ 18 ] and Neville et al. [ 19 ] concede that an operational definition of respite ( WHEN , WHERE , WHO ) is not clear. Neville et al. [ 19 ] conclude that “respite has the potential to be delivered in flexible and positive ways”, without addressing these ways. The absence of a unified definition for flexible at-home respite contributes to the challenges of implementing and evaluating services, as well as measuring their effect. Although respite services are deemed necessary, they are seldom used [ 19 , 25 , 26 , 27 ]; as little as 6% of all caregivers receiving any kind support services in Canada actually use them. In scientific literature, the under-usage of respite services is a shared reality around the world [ 28 ]. One of the main reasons for this under-usage is the overall lack of flexibility in both obtaining and using respite [ 29 , 30 ]. Synthesizing the characteristics of flexible at-home respite services is the first steppingstone to a common operational definition. This could contribute to increasing respite use through the implementation or enrichment of programs in ways that answer the dyad’s (caregiver and older adult) needs.

Consequently, to support the implementation and evaluation of homecare programs, the objective of this study was to synthesize the knowledge on the characteristics of flexible at-home respite services offered to caregivers of older adults.

A scoping review [ 32 , 33 , 34 ] was conducted, as part of a larger multi-method participatory research known as the AMORA project [ 31 ] to characterize flexible at-home respite. Scoping reviews allow to map the extent of literature on a specific topic [ 32 , 34 ]. The six steps proposed by Levac et al. [ 32 ] were followed: [ 1 ] Identifying the research question; [ 2 ] searching and [ 3 ] selecting pertinent documents; [ 4 ] extracting ( or charting ) relevant data; [ 5 ] collating, summarizing and reporting findings; [ 6 ] consultation with stakeholders. The sixth step is optional.

Identifying the research question

The research question was: “What are the characteristics of flexible at-home respite services offered to caregivers of older adults?” As the research was conducted, this question was divided into three sub-questions:

WHO is tendering flexible respite?

WHEN is flexible respite tendered?

HOW is flexible respite tendered?

Identifying relevant documents

The search strategy consisted of two methods. First, the key words (1) respite (2) informal caregivers (3) older adults in the title or abstract allowed to identify relevant documents (Table  1 ). Initially included, the term “ flexib *” was removed from the search, given the low number generated (60 versus 1,179 documents without). The first author and a librarian specialized in health sciences research documentation conducted the literature research in July of 2021 and updated it in December of 2022 in 6 databases ( Ageline , Cochrane , CINAHL , Medline , PsychInfo , and Abstracts in Social Gerontology ). The expanded research strategy then consisted of the identification of relevant documents from the selected bibliography and one article that was found by searching for unavailable references (alternative article).

Study selection

To review the most recent literature on flexible at-home respite service characteristics, the research team focused on writings within a 20-year span, as have other reviews (e.g., [ 35 , 36 ]); documents thus had to be published between 2001 and 2022. The research team selected documents written in French or English, only. Included documents had to come from either (1) scientific literature (i.e., articles in an academic journal presenting an empirical study or reviews) or (2) reports and briefs from government, homecare organizations or research centres. All study designs were included. The research team convened that at-home respite is an (1) individual (i.e., not in a group) service (although, theoretically, two persons living in the same household could receive it) from (2) a professional or a volunteer that occurs (3) in the home and that (4) it requires no transport for the dyad. To select documents related to flexible at-home respite, the research team identified those in which the respite displayed an ability to adapt to the dyad’s needs on at least one characteristic of the service, as presented by Maayan and collaborators ( WHERE [Not relevant to this review, as it focuses on at-home respite] , WHO , WHEN ). The team concluded that these three dimensions lacked the precision to globally characterize the service. Indeed, they did not describe access to or activities occurring during respite, or, as the team called it, the HOW (Fig.  1 ). Excluded documents were those covering several services at once, preventing the differentiation of elements that were specific to at-home respite services. As this is a scoping review, the research team did not include a critical appraisal of individual sources of evidence [ 32 , 34 ].

Following the step-by-step Preferred Reporting Items for Systematic reviews and Meta-Analyses extension for Scoping Reviews (PRISMAScR) guidelines [ 37 ], the research team met to define the selection strategy. First, they screened the documents by their titles and abstracts, before determining their eligibility, based on their full text. Considering the limited human and financial resources, at each step of the PRISMAScR, a second team member assessed 10% of the documents independently to co-validate the selection; the goal was to reach 80% of agreement between both team members regarding document inclusion or exclusion. If an agreement was not reached, they would meet to obtain a consensus. The research team used Zotero reference management software to store documents as well as a cloud-based website to collaborate on the selection.

Conceptual mapping of results: HOW , WHEN , WHO

Charting the data

The first author charted (or extracted) both quantitative and qualitative data. To quantitatively characterize documents, contextual data (country of origin, year of publication, type of documents, etc.) was extracted in a Microsoft Excel table. For the qualitative data, the research team created an extraction table in Microsoft Word that included the three dimensions of respite ( WHO , WHEN and HOW) and one “ other ” dimension, as to not force any excerpts under the three dimensions. To co-validate the data charting, the second and third authors replicated 10% of the process. Expressly, the first author extracted elements related to a flexible characteristic of the at-home respite ( WHO , WHEN , HOW or other ). Considering limited resources, the third and second authors both co-validated the extraction of 10% of the documents. Authors met to reach a consensus where a disagreement arose.

Collating, summarizing, and reporting the results

The research team used content analysis to “attain a condensed and broad description of the phenomenon” [ 38 ]. To do so, data was prepared (familiarization with the data and extraction of pertinent excerpts) and organized (classification of excerpts) to build a characterization of flexible at-home respite. In this scoping review, a deductive content analysis began with three main categories ( WHO , WHEN , HOW ), with the addition of the temporary “ other ” category. Content analysis aimed to divide these categories into several generic categories, which subdivided into sub-categories (Fig.  2 ), inductively. This allowed to define the three main categories. While the WHO and the WHEN categories describe the service itself (time, duration, qualified staff, etc.), the HOW category is specific to the interface between the organization offering respite and the dyad (assessing the needs of the dyad, coordinating care, etc.). An interface is a situation where two “subjects” interact and affect each other [ 39 ]. In the context of homecare services, Levesque, Harris and Russell (2013) have defined that interface as access [ 40 ]. Therefore, to define the generic categories of the HOW , the team used the five dimensions of their access to care framework: Approachability, appropriateness, affordability, availability and acceptability [ 40 ]. Approachability relates to users recognizing the existence and accessibility of a service [ 40 ]. Appropriateness encompasses the alignment between services and users’ needs, considering timeliness and assessment of needs [ 40 ]. Affordability pertains to users’ economic capacity to allocate resources for accessing suitable services [ 40 ]. Availability signifies that services can be reached, both physically and in a timely manner [ 40 ]. Acceptability involves cultural and social factors influencing users’ willingness to accept services [ 40 ]. In other words, the HOW category focuses on the organizational or professional aspects of the service and how they can be adapted to the dyad.

To co-validate the classification, the research team met until they were all satisfied with the categorization. The first author then completed the classification. After classifying 20% of the documents, the second author would comment the classification. When the authors reached an agreement, the first author would move on to the classification of another 20%. First and second authors would meet when disagreements about classification and categories arose, to confer and adjust. Finally, all categories were discussed with the third author, until a consensus was reached. Once categorization was achieved, the team prepared a synthesis report. In this report, the team defined the main categories ( WHO , WHEN, HOW , other ) and their generic and sub-categories (Fig.  2 ) with pertinent excerpts from the reviewed literature. In summary, the results of the scoping review characterize flexible at-home respite under three attributes: WHO , WHEN and HOW .

Content analysis: Types of categories according to Elo and Kyngäs (2007) ( with examples from results )

Consultation

Rather than conducting a focus group as suggested by Levac and collaborators [ 32 ], the team chose to triangulate the results with those from a survey as a consultation strategy. Specifically, the research team took advantage of a survey being conducted with relevant stakeholders in the larger study (AMORA project), as it allowed to respect the scoping review’s allocated resources. The survey aimed to define flexible at-home respite and the factors affecting its implementation and delivery. A committee including a researcher, a doctoral student and a representative of an organization funding homecare services in Québec (Canada), developed the survey following the three stages proposed by Corbière and Fraccaroli [ 41 ]. It originally included a total of 21 items: Thirteen [ 13 ] close-ended and 8 open-ended questions. Of these 8, 2 addressed the characteristics of an ideal at-home service and suggestions regarding respite and were used here for triangulation purposes. The questionnaire was published online, in French, on the Microsoft Forms ® platform in the summer of 2020. Recruitment of participants (caregivers and people from the homecare sector) was done via email, by contacting regional organizations (Eastern Townships, Québec, Canada). In addition, the 18 senior consultation tables spread throughout the territory of the province of Québec were solicited; working in collaboration with governmental instances in charge of services to older adults and caregivers, these tables bring together representatives for associations, groups or organizations concerned with their living conditions.

The goal was to triangulate the scoping review’s results, i.e., to identify what was common between the literature and real-world experiences, and, as such, to bring contextual value to the results. Accordingly, the team analyzed data using mixed categorization [ 42 ]. The categories from the scoping review served as a starting point (closed categorization), leaving room to create new categories, as the analysis progressed (open categorization). Once all the data (scoping and survey) was categorized, the team identified the characteristics according to sources. To do so, the team tabulated the reoccurrence of each category in the survey, in the scoping review, or in both. They then integrated the results to provide one unified categorization of flexible at-home respite. The AMORA project was approved by the research ethics committee of the Integrated University Health and Social Services Centre (CIUSSS) of the Eastern Townships (project number: 2021–3703).

Of the 1,301 papers retrieved through the database searches, 1,146 were not eligible based on title and abstract, while 116 were excluded after reading their full texts, resulting in 39 included documents (Fig.  3 ). Documents were mainly excluded because they did not provide details about the respite service and its flexibility. The expanded search yielded three additional documents, resulting in a total of 42 documents, included in this scoping review. This section details (1) the characteristics of the selected documents and (2) the characterization of flexible at-home respite.

Preferred Reporting Items for Systematic reviews and Meta-Analyses extension for Scoping Reviews (PRISMAScR) flow chart of the scoping review process [ 37 ]

Characteristics of selected documents

The majority (86%) of the documents in the review (Table  2 ) are from after 2005, with only 14% of the documents published before 2005, and are from 9 countries; United States ( n  = 18; 42%), United Kingdom ( n  = 11; 26%), Australia ( n  = 4; 10%), Canada ( n  = 2; 5%), Ireland ( n  = 2; 5%), France ( n  = 2; 5%), Belgium ( n  = 2; 5%), Germany ( n  = 1; 2%), New Zealand ( n  = 1). The types of documents were diverse: 68% ( n  = 28) were empirical studies, 31% ( n  = 13) theoretical papers and 1% ( n  = 2) government briefs. Most ( n  = 23; 56%) of the documents did not specify their research approach, while 10 and 9 took, respectively, a qualitative (23%) or quantitative approach (21%). Most documents address respite in the context of caregiving for someone living with Alzheimer’s disease or other neurocognitive disorders ( n  = 25; 60%), while some targeted older adults in general ( n  = 14; 34%), people in palliative care ( n  = 4; 9%) or other older adult populations (for example, veterans) ( n  = 3; 1%). Respite was usually tendered by community organizations specialized in homecare ( n  = 32; 78%). Although the majority of the documents ( n  = 31; 75%) did not address the type of region (rural, urban, or mixed) surrounding the caregivers, those who did ( n  = 11; 26%) mainly reported being in a mixed environment ( n  = 9; 21%).

Characteristics of survey participants

Although all 100 participants completed the questionnaire, 71 participants answered at least 1 of the 2 open-ended questions: Each question had 66 and 41 answers. Of those 71 participants, most of them were women ( n  = 60; 85%). All participants were aged on average 55 years old (SD = 15). They were mostly from the Eastern Townships area ( n  = 56; 79%). Most participants were either caregivers ( n  = 24; 34%) or homecare workers ( n  = 28; 39%), while some were service administrators ( n  = 11; 15%), and some reported being both caregivers as well as working in the formal caregiving sector ( n  = 7; 10%). Only one person reported themselves as an older adult having a caregiver.

Characterization of flexible at-home respite

The characterization of flexible at-home respite will be presented below in three main categories which are WHO , WHEN , and HOW . Of note, 10 (24%) of the included documents had three categories of flexible components, 16 (38%) had 2 categories and 1 category. Almost all documents discussed the HOW of flexible at-home respite ( n  = 40, 95%). Out of the 33 categories constructed with the scoping review, only 6 (18%) were not reported in the questionnaire: (1) planned respite ( WHEN ), (2) screening of dyads ( HOW ), (3) determining frequency of respite ( HOW ), (4) coordination of care ( HOW ), (5) voucher approach ( HOW ) and (6) acceptability to low-income households ( HOW ). Moreover, the questionnaire added three characteristics that were not present in the scoping review: (1) respite needs to be approachable, (2) the organization must be prompt** and adhocratic** and (3) able to deliver respite regardless of the season** (availability). Generic or sub-categories present only in the scoping review are identified with 1 asterisk (*), while those present only in the questionnaire have 2 (**).

In the selected documents, the WHO dimension of flexible at-home respite services can be broken down into three qualifiers: (1) Compatible , (2) qualified and (3) trained (Table  3 ). This dimension includes all human resources contributing to homecare (administrative staff, governing bodies, paid and volunteer care workers). First, the workforce behind flexible respite is compatible , meaning it has personal characteristics and profiles relevant to homecare for caregivers of older adults [ 17 , 53 , 62 , 63 , 68 ]. Gendron and Adam explain this by describing how the role of the care worker in Baluchon Alzheimer™ goes beyond training: “The nature of their work with [Baluchon Alzheimer™] requires particular human and professional qualities that are quite as important as academic credentials” [ 53 ]. Personal characteristics such as flexibility [ 53 , 62 , 63 , 68 ], empathy and patience [ 17 , 53 , 62 ] are deemed essential attributes. Secondly, the workforce is qualified : It has the necessary skills, abilities and knowledge from past professional [ 14 , 45 , 62 , 70 ] and personal experience [ 62 ] to work, or volunteer, with caregivers of older adults. For a program like Baluchon Alzheimer™, “the backgrounds of the baluchonneuses vary […]; all have experience in gerontology” [ 53 ]. Other areas of qualification in the included documents are a nursing background [ 18 , 45 ] or knowledge related to dementia [ 69 ]. Finally, flexible at-home respite requires a trained workforce engaged in the process of acquiring knowledge and learning the skills to provide respite services to caregivers of older adults. For example, homecare organizations can offer specific training on various topics, depending on their target clientele: Dementia [ 44 ], palliative care [ 59 ], or homecare in general [ 44 ].

The WHEN dimension of flexible at-home respite contains 4 temporal features: (1) Time , (2) duration , (3) frequency and (4) predictability (Table  4 ). First, flexible respite is available on a wide range of possible time slots. For example, the service is “available 24 hours, but typically from 9 am to 10 pm” [ 64 ]. Secondly, flexible respite is accessible on a wide range of possible durations . The Community Dementia Support Service (CDSS) is an example of flexibility in duration by “[being] totally flexible, being available from 2 to 15 hours per week” [ 69 ]. Thirdly, the service is offered in different frequencies : It can be either recurrent or occasional, or a combination of both [ 18 , 64 , 66 ]. The last feature of the WHEN dimension is flexibility in predictability ; the respite service can be planned* or not. A study on respite services in South Australia found that most providers (93%) planned the respite care with the dyad, but that emergency or crisis services were still offered by 35% of them [ 50 ].

At-home respite is flexible when it demonstrates approachability : Caregivers can identify that some form of respite exists and can be reached (Table  5 ). For the respite service to be approachable, the organization needs to be reaching out to dyads; it proactively makes sure that caregivers of older adults have information on services, know of their existence and that they can be used. For example, the El Portal program put in place “advisory groups that included the local clergy, representatives from businesses, caregivers, and service providers who were used for outreach work” [ 66 ]. The organization also screens* dyads to assess their eligibility for respite, as well as for other services from the same program or organization. For example, the North Carolina (U.S.A.) Project C.A.R.E. has an initial assessment that considers the range of homecare services available, rather than just assessing for eligibility for a program [ 57 ]. In addition, flexible respite requires the organization to set attainable and inclusive requirements for eligibility, as to not discourage use [ 24 , 57 , 61 , 66 ]. Finally, the organization communicates consistently with the dyad. As Shanley explains in their literature review, “there are clear and open ways for carers to express concerns about the service, and an open mechanism is available for dealing with these concerns constructively” [ 17 ]. In addition, the survey participants discussed two other characteristics. First, for respite to be approachable, the organization is prompt**, respecting a reasonable delay between the request and the beginning of the service (wait list). Second, it is adhocratic**, meaning the organization does not depend on complex systems of rules and procedures to operate i.e., bureaucracy.

The second access dimension of flexible at-home respite is appropriateness (Table  6 ): The fit between respite services and the dyad’s needs, its timeliness, the amount of care spent in assessing their needs and determining the correct respite service. For the respite service to be appropriate, the organization assesses needs by collecting details about the dyad’s needs; this can include, but is not limited to, clinical, psychological, or social evaluation. The organization then proposes respite services from a wide range of options or packages: A multi-respite package, as presented by Arksey et al., can simply be the combination of at least two different respite services [ 44 ]. For the service to be appropriate, the organization also paces the respite. Apprehension towards service appropriateness can be mitigated by a gradual introduction to homecare, for example when the respite is presented as a trial [ 68 ]. The organization determines the service with the dyad and defines its different characteristics ( WHEN * , WHO ) so interventions correspond to their needs. The organization then determines the appropriate activities to do with the dyad during the respite. For example, the caregiver of older adults can be encouraged to use respite time for leisure (sleep, physical activity, etc.) [ 45 ], while the care worker supports the beneficiary in engaging in an activity such as a walk or a board game [ 14 ]. Furthermore, the organization coordinates* the services for the dyad and acts as a “respite broker” to arrange all aspects of care; this is especially relevant for programs that include a “care budget” that can be used at the caregivers’ discretion [ 58 ]. Finally, for the respite to be appropriate, the organization assures that it is in continuity with other health services, by connecting the dyads to pertinent resources. As described by Shaw, respite should be “embedded in a context that includes assessment, carer education, case management and counselling” [ 18 ].

The third access dimension of flexible at-home respite is affordability , referring to the economic capacity of the dyad to spend resources to use appropriate respite services (Table  7 ). The included documents only explored the direct cost of respite: The amount of money a dyad must pay to receive services. For the respite to be affordable, its direct cost is either (1) adapted, where the cost is modulated according to the dyad’s financial resources, for example on a sliding scale, based on income or (2) nonexistent [ 44 ].

Next, flexible at-home respite must demonstrate availability (Table  8 ): Services can be reached both physically and in a timely manner. Firstly, the organization offers respite in the dyads’ geographic area. Shanley described an at-home mobile respite program designed to reach rural and remote areas, where two care workers visit different locations for set periods of time [ 17 ]. Moreover, one sub-characteristic identified exclusively by the survey participants was seasonality. Indeed, the dyad has access to respite, regardless of the season**. Thus, the geography category is broken down between the access to service (1) in rural or remote areas and (2) notwithstanding the season. Flexibility in availability also requires that the dyads have access to unlimited respite time; the organization does not assign a finite bank of hours. Finally, the organization proposes diverse payment methods to the dyads. The consumer-directed approach is a way that homecare organizations offer flexibility. A care budget is allocated to the caregiver to purchase hours from homecare agencies or to hire their own respite workers. This includes payments to family members or friends to provide respite care [ 79 ]. An example of a type of consumer-directed approach is the use of vouchers*: Credit notes or coupons to purchase service hours from homecare agencies [ 44 ].

Finally, access to flexible at-home respite also relates to acceptability (Table  9 ): The cultural and social factors determining the possibility for the dyad to accept respite and the perception of the appropriateness of seeking services. For the respite to be acceptable, the organization targets and caters to the cultural diversity represented in their local population. The organization is also able to identify and to accommodate underserved groups. In the included documents, underserved groups lacked access to respite for two reasons: (1) Geographic isolation or (2) the requirements to be eligible to “traditional homecare” does not apply to them, for example, for younger people with dementia and people with HIV/AIDS [ 17 ]. The organization can target and cater to low-income households*. Rosenthal Gelman and his collaborators detail a program where, after realizing that low-income caregivers have greater unmet needs, special funds were set aside for respite care vouchers to be distributed [ 70 ].

This scoping review conducted with Levac and colleagues’ method [ 32 ] synthesized the knowledge on the characteristics of flexible at-home respite services offered to caregivers of older adults, from 42 documents. The results provide a synthesis of the characteristics of flexible at-home respite discussed in the literature. The three dimensions of flexibility in respite relate to (1) WHO is tendering it, (2) WHEN it is tendered and (3) HOW it is tendered. First, human resources ( WHO ) must be compatible with the homecare sector as well as being trained and qualified to offer respite to caregivers of older adults. The second feature of flexible respite is temporality ( WHEN ): The time, duration, frequency, and predictability of the service. The last dimension, access ( HOW ), refers to the interface between the respite and the users. Flexible at-home respite exhibits approachability, appropriateness, affordability, availability, and acceptability. In the light of what we learned, flexible at-home respite could be characterized as a service that has the ability to adjust to the needs of the dyad on all three dimensions ( W HO , WHEN , HOW ). However, this seems to be more of an ideal than a reflection of reality.

The survey provided complementary results to the review; the concordance between the two is strong (27/33 = 82%). Six [ 6 ] characteristics were missing from the survey results, including planned respite and the voucher approach ( HOW ). Moreover, the survey added three elements to the review results: The organization’s adhocracy ( HOW ) and promptness ( HOW ) as well as its ability to offer services, regardless of the season ( HOW ). These mismatches might reflect the Québec (and possibly Canadian) landscape of homecare. For example, in the Québec homecare system, respite is mostly planned, it is therefore not surprising that people only mention that unplanned respite is lacking. The “voucher system” was not mentioned in the survey, probably in part because it does not exist in the province of Québec. Additionally, navigating the healthcare system to have free or affordable homecare can be treacherous [ 80 ]. In short, older adults have to go through (1) evaluation(s) by a social worker from a hospital or another public healthcare organization and (2) various administrative tasks ( adhocratic ) [ 2 ], before possibly being put on a waiting list ( prompt ) [ 81 ]. In addition, Canada can experience harsh winters ( seasonality ) that can make transport, which is an integral part of homecare, particularly laborious. Although those categories could reflect the particularity of homecare in Canada, a promising follow up on this review would be to compare the characteristics of flexible respite from one territory to another. It would contribute to providing a more operational definition of flexible at-home respite.

The remainder of this discussion will focus on two main points before touching on the limitations and strengths of this review. First, flexibility in at-home respite seems exceptional. Second, respite care workers are as skilled as they are underappreciated.

This review, in coherence with the literature, highlights the fact that respite services generally lack flexibility: This is the conclusion of several studies on respite [ 7 , 64 , 82 ]. A pattern seems to emerge in the countries represented in the review: Community organizations specialized in homecare (public and/or privately funded) offer respite on predetermined time slots, usually prescribed between traditional office hours (9 AM to 6 PM) [ 50 ]. This lack of flexibility could be explained in part by the rigidity of the structure of homecare services and the fact that its funding does not allow for customizable and punctual services [ 17 , 62 , 73 ]. Nevertheless, there were some examples of flexible respite models, such as Baluchon Alzheimer™ and consumer-directed approaches. Baluchon Alzheimer™ offers long-term at-home respite (4 to 14 days) by qualified and trained baluchonneuses . Prior to the relay of the caregivers, the baluchonneuse takes the time to learn about the dyad, including their environment and routine [ 53 , 62 ]. Caregivers report feeling refreshed upon their return and appreciate the diaries (or logbooks) that the baluchonneuse meticulously fills out [ 53 ]. Another example would be consumer-directed approaches, where caregivers are attributed a budget to hire their own care worker. Allowing caregivers to choose their care worker (either from a self-employed carer or family and friends) can increase the quality of care and satisfaction, while providing relatively affordable care, especially in a situation of labour shortage [ 51 , 79 ]. Even though these two models are a demonstration of how respite can be adapted to the caregiver-senior dyad, for the most part, flexibility is lacking on all three dimensions of respite ( WHO , WHEN , HOW ).

Secondly, the results from the scoping review highlight how homecare as a profession is often overlooked. Indeed, the reviewed documents state the necessary set of skills to offer respite; the level described is one of highly specialized care professionals with important liability. These skills must also transcend advanced knowledge and qualifications, to include interpersonal capabilities [ 17 , 53 , 62 , 63 , 68 ]. Furthermore, care workers must also be flexible to offer a wide range of service time and duration, in addition to being ready to provide “on-the-go” respite [ 53 , 68 ]. Yet, the occupation of homecare worker is an underappreciated and underpaid position [ 83 ]. Community care, like respite, is generally not a priority for social and healthcare funding [ 24 ]. This can be explained in part by the neoliberal approach to care in which the target is to minimize spending and maximize (measurable) outcomes [ 84 ]. Homecare outcomes are often overlooked in favour of service delivery evaluation, in part because they are difficult to measure [ 44 ]. This approach can also lead to prioritizing third party contracting instead of including respite in the range of public services, as to save on expenses related to employment (insurance and other benefits) [ 85 ]. Another contributor is that funding is used for service administration and not to adequately provide services or remunerate care workers [ 86 ]. Finally, care workers are mostly women, known for doing the invisible work that is at the heart of respite care (emotional support, etc.) [ 87 ]. A telling example from the reviewed documents is that Baluchon Alzheimer™ refers to their care workers as baluchonneuses (feminine form) and not baluchoneurs (masculine form) [ 53 ]. Consequently, the homecare sector is faced with recruitment and retention challenges [ 44 , 64 , 88 ]. Authors of the documents included in the review addressed the fact that flexibility in service meant that service providers had to function with excess capacity; for example, by building an “employee bank” to cover all the hours of the day and emergency calls [ 44 ]. Ultimately, staff turnover and shortage caused in part by the work being underappreciated could create a vicious cycle, leading to inflexibility in respite. In short, overlooking and underestimating the crucial and specialized work of homecare workers can contribute to staff turnover, which in turn could result in a lack of flexibility of at-home respite.

Limitations and strengths

The review’s methodological approach has some limitations and strengths. First, according to Levac, Colquhoun and O’Brien [ 32 ], research teams could conduct a sixth step in their scoping study, consisting in consulting experts through a focus group or workshop. This last phase aims at providing further insight into the review’s results and to begin the knowledge translation process. The team did not conduct a traditional consultation phase. Instead, they triangulated the review’s results through a questionnaire. This method was of interest, because of the natural concordance between the results and the considerable number of participants ( n  = 100). The survey still allowed to refine the characterization of respite, but further knowledge transfer to homecare actors and caregivers is necessary. Although innovative, there is a need to further investigate the validity of this approach as a consultation phase. Secondly, the theme of flexible at-home respite may have narrowed the search and identification of relevant documentation, and therefore caused the team to overlook some of the literature. Empirical studies and reviews on respite seldom include a detailed description of services [ 89 , 90 , 91 ]. This made it challenging to understand what services are like, operationally, for the dyad and to judge their flexibility. In addition, it complexified the extraction of relevant data, as descriptions were sparse and scattered throughout the documents. The team worked to mitigate these limitations in the documentation research and data charting phase. To begin, they sorted through all the literature on at-home respite for caregivers of older adults. In other words, the team not only searched for, but also included any explicit mention of flexibility. After selection, the extraction tables allowed enough versatility to include all the flexible characteristics of service, regardless of their placement in the text (introduction, methodology or discussion) or length. Another limitation is that, due to resource constraints, only 10% of the document selection and extraction was assessed by two reviewers, although a minimum of 80% of agreement was met and discussions were used to reach consensus where a disagreement arose. To conclude, strengths of this review include the extensiveness and diversity of the documents and its rigorous methodology, co-validated by a peer and an experienced researcher, with assistance from a specialized librarian.

This review has both scientific and practical implications. From a scientific point of view, the results contribute to the body of knowledge on flexible respite service models for caregivers of seniors, an under-documented topic. To our knowledge, this is the first review that aims to characterize flexible at-home respite. Our results suggest the relevance of further documenting the factors influencing the implementation and delivery of flexible respite services, as well as the consequences of the lack of flexibility in respite services, which may lead to service underuse. Moreover, researchers could focus on documenting respite programs in countries that are not represented in this review. There were notably no documents from the continents of Asia and Africa. Unfortunately, good practices can go unreported in peer-reviewed publications; therefore, a review focusing on government reports and publications aimed at professionals could shed some light on promising respite models. From a practical point of view, this review serves as a starting point for the implementation of flexible home respite that is tailored to the caregivers’ and older adults’ needs. Our characterization of flexible at-home respite can be used to guide the improvement of existing respite services and to design new resources that reflect best practices in homecare, ultimately contributing to successful aging in place for older adults.

Data availability

The data supporting this study’s findings are available from the corresponding author, upon reasonable request.

Abbreviations

Preferred Reporting Items for Systematic reviews and Meta-Analyses extension for Scoping Reviews

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Acknowledgements

The team thanks the Université de Sherbrooke’s library and archives service for their support. The team also want to thank everyone who participated in the survey.

This article describes a part of a larger study on flexible respite funded by the Fonds de la recherche du Québec (#309508) – Santé and the Conseil de recherches en sciences humaines du Canada (#892-2019-3075). Annie Carrier and Véronique Provencher are Fonds de recherche du Québec – Santé Junior 1 and Junior 2 researchers (#296437 and #297008, respectively). Alexandra Éthier is a Canadian Institutes of Health Research - Research Graduate Scholarships – Doctoral Program recipient (#476590 − 71729).

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MV conducted the review and co-wrote the article with AE. AE co-validated the study selection and co-wrote the article. AC co-validated the study selection, data charting and reviewed the article. VP reviewed the article. All authors read and approved the final manuscript.

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Viens, M., Éthier, A., Provencher, V. et al. WHO, WHEN, HOW: a scoping review on flexible at-home respite for informal caregivers of older adults. BMC Health Serv Res 24 , 767 (2024). https://doi.org/10.1186/s12913-024-11058-0

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Tuesdays 3-5:50 p.m.

Dr. Jason McEntee

In 1975, the United States officially included its involvement in the Vietnam War, thus marking 2025 as the 50th anniversary of the conclusion (in name only) of one of the most chaotic, confusing, and complex periods in American history. In this course, we will consider how literature and film attempt to chronicle the Vietnam War and, perhaps more important, its aftermath. I have designed this course for those looking to extend their understanding of literature and film to include the ideas of art, experience, commercial products, and cultural documents. Learning how to interpret literature and movies remains the highest priority of the course, including, for movies, the study of such things as genre, mise-en-scene (camera movement, lighting, etc.), editing, sound and so forth.

We will read Dispatches , A Rumor of War , The Things They Carried , A Piece of My Heart , and Bloods , among others. Some of the movies that we will screen are: Apocalypse Now (the original version), Full Metal Jacket , Platoon , Coming Home , Born on the Fourth of July , Dead Presidents , and Hearts and Minds . Because we must do so, we will also look at some of the more fascinatingly outrageous yet culturally significant fantasies about the war, such as The Green Berets and Rambo: First Blood, Part II .

ENGL 492.S02 Classical Mythology

TuTh 3:30-4:45 p.m.

Drs. Michael S. Nagy and Graham Wrightson

Modern society’s fascination with mythology manifests itself in the continued success of novels, films and television programs about mythological or quasi-mythological characters such as Hercules, the Fisher King, and Gandalf the Grey, all of whom are celebrated for their perseverance or their daring deeds in the face of adversity. This preoccupation with mythological figures necessarily extends back to the cultures which first propagated these myths in early folk tales and poems about such figures as Oðin, King Arthur, Rhiannon, Gilgamesh, and Odysseus, to name just a few. English 492, a reading-intensive course cross-listed with History 492, primarily aims to expose students to the rich tradition of mythological literature written in languages as varied as French, Gaelic, Welsh, Old Icelandic, Greek, and Sumerian; to explore the historical, social, political, religious, and literary contexts in which these works flourished (if indeed they did); and to grapple with the deceptively simple question of what makes these myths continue to resonate with modern audiences. Likely topics and themes of this course will include: Theories of myth; Mythological Beginnings: Creation myths and the fall of man; Male and Female Gods in Myth; Foundation myths; Nature Myths; The Heroic Personality; the mythological portrayal of (evil/disruptive) women in myth; and Monsters in myth.

Likely Texts:

• Dalley, Stephanie, trans. Myths from Mesopotamia: Creation, the Flood, Gilgamesh, and Others. Oxford World’s Classics, 2009
• Faulkes, Anthony, trans. Edda. Everyman, 1995
• Gregory, Lady Augusta. Cuchulain of Muirthemne: The Story of the Men of the Red Branch of Ulster. Forgotten Books, 2007
• Jones, Gwyn, Thomas Jones, and Mair Jones. The Mabinogion. Everyman Paperback Classics, 1993
• Larrington, Carolyne, trans. The Poetic Edda . Oxford World’s Classics, 2009
• Matarasso, Pauline M., trans. The Quest of the Holy Grail. Penguin Classics, 1969
• Apollodorus, Hesiod’s Theogony
• Hesiod’s Works and Days
• Ovid’s Metamorphoses, Homeric Hymns
• Virgil’s Aeneid
• Iliad, Odyssey
• Apollonius of Rhodes Argonautica
• Ovid’s Heroides
• Greek tragedies: Orestaia, Oedipus trilogy, Trojan Women, Medea, Hippoolytus, Frogs, Seneca's Thyestes, Dyskolos, Amphitryon
• Clash of the Titans, Hercules, Jason and the Argonauts, Troy (and recent miniseries), Oh Brother, Where Art Thou?

ENGL 492.ST1 Science Writing

Erica summerfield.

This course aims to teach the fundamentals of effective scientific writing and presentation. The course examines opportunities for covering science, the skills required to produce clear and understandable text about technical subjects, and important ethical and practical constraints that govern the reporting of scientific information. Students will learn to present technical and scientific issues to various audiences. Particular emphasis will be placed on conveying the significance of research, outlining the aims, and discussing the results for scientific papers and grant proposals. Students will learn to write effectively, concisely, and clearly while preparing a media post, fact sheet, and scientific manuscript or grant.

Graduate Courses

Engl 575.s01 creative nonfiction.

In this course, students will explore the expansive and exciting genre of creative nonfiction, including a variety of forms such as personal essay, braided essay, flash nonfiction, hermit crab essays, profiles, and more. Through rhetorical reading, discussion, and workshop, students will engage published works, their own writing process, and peer work as they expand their understanding of the possibilities presented in this genre and the craft elements that can be used to shape readers’ experience of a text. Students will compile a portfolio of polished work that demonstrates their engagement with course concepts and the writing process.

ENGL 592.S01: The Vietnam War in Literature and Film

Engl 704.s01 introduction to graduate studies.

Thursdays 3-5:50 p.m.

Introduction to Graduate Studies is required of all first-year graduate students. The primary purpose of this course is to introduce students to modern and contemporary literary theory and its applications. Students will write short response papers and will engage at least one theoretical approach in their own fifteen- to twenty-page scholarly research project. In addition, this course will further introduce students to the M.A. program in English at South Dakota State University and provide insight into issues related to the profession of English studies.

ENGL 792.ST1 Grant Writing

This online course will familiarize students with the language, rhetorical situation, and components of writing grant proposals. Students will explore various funding sources, learn to read an RFP, and develop an understanding of different professional contexts and the rhetorical and structural elements that suit those distinct contexts. Students will write a sample proposal throughout the course and offer feedback to their peers, who may be writing in different contexts, which will enhance their understanding of the varied applications of course content. Through their work in the course, students will gain confidence in their ability to find, apply for, and receive grant funding to support their communities and organizations.