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Literary Genre

2019, Literary genres

Paper work about literary genres

Related Papers

Jirah Joy Peañar

Elements  May explain how something in nature looks or works (example: why the spider spins a web).  May explain why people behave in certain ways.  Characters: Often includes gods or goddesses who interact with humans.

József Szili

Gorm Larsen

English in Australia, No.99, 27-48

Anne Cranny-Francis

Kara Poe Alexander

HANAN ABBOUD

According to Daniel Chandler, "The word genre comes from the French (and originally Latin) word for 'kind' or 'class'. The term is widely used in rhetoric, literary theory, media theory, and more recently linguistics, to refer to a distinctive type of 'text'. Robert Allen notes that 'for most of its 2,000 years, genre study has been primarily nominological and typological in function. That is to say, it has taken as its principal task the division of the world of literature into types and the naming of those types .

David Fishelov

English in Australia, No.105, 30-43

This paper addresses the relationship between the concept of genre used in literary and (systemic functional) linguistic theory and change, both textual and social. Another way of describing these changes in textual and (therefore) social practice is creativity; what it is that produces new kinds of texts articulating changes in the discourses defining a society at a particular time. Of course, formalistic notions of genre work directly against this kind of creativity, implicating their users in a relatively uncritical reproduction of the discursive positioning articulated in the contemporary version of a particular genre. However, the understanding of genre which informs most contemporary critical practice (in literary and linguistic studies) is not a formalistic one, but one which is essentially sociohistorical. The paper also addresses the relationship between theoretical conceptualisations of genre in functional linguistics and literary theory, and attempts to explicate the reasons for some of the confusions which obfuscate the dialogue between these different disciplines. Defining 'genre' Critic Fredric Jameson describes the value of genre for the critic in this way: The strategic value of generic concepts... clearly lies in the mediatory function of the notion of genre, which allows the coordination of immanent formal analysis of the individual text with the twin diachronic perspective of the history of forms and the evolution of social life. (Jameson 1981: 105) For Jameson, then, genre enables the critic to bring together an examination of the meaning-making practices of the text, the semiotic choices made in the production of the text (which he calls "immanent formal analysis") with the history of the genres which are involved in the production of the individual text ("the history of forms") and the

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1.1: What is Literature?

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• Page ID 40366

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

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Defining Literature

In order for us to study literature with any kind of depth, first we must decide what constitutes literature. While works like William Shakespeare’s Romeo and Juliet and Harper Lee’s To Kill a Mockingbird are almost universally accepted as literature, other works are hotly debated, or included or excluded based on the context. For example, while most consider Toni Morrison’s Beloved literature, others debate whether more recent publications such as David Mitchell’s Cloud Atlas or Rupi Kaur’s Instagram poetry constitute literature. And what about the stories told through tweets, like Jennifer Egan’s “Black Box” ? What about video games, like Skyrim , or memes, like Grumpy Cat?

Students often throw their hands up in the air over such distinctions, arguing literature is subjective. Isn't it up to individual opinion? Anything can be literature, such students argue. At first glance, it could seem such distinctions are, at best, arbitrary. At worst, such definitions function as a means of enforcing cultural erasure.

However, consider a story about Kim Kardashian’s plastic surgery in People Magazine . Can this be considered on the same level of literary achievement as Hamlet ? Most would concede there is a difference in quality between these two texts. A blurb about Kim Kardashian’s latest plastic surgery, most would agree, does not constitute literature. So how can we differentiate between such works?

Literature vs. literature

As illustrated in the somewhat silly example above, one way we can define what constitutes literature is by identifying what is definitely not literature. For our intents and purposes of defining most terms in this textbook, we will use the Oxford English Dictionary ’s definitions. Many professors who teach Literature use the concept of Big L Literature vs. little l literature (Rollison).

While the definition of little l literature is fairly easy to understand and apply, the definition of Big L Literature remains amorphous. What makes a work “artistic”? How do we define “superior” or “lasting”?

Let’s break down some of the defining qualities of literature in a bit more detail, starting with the word “artistic.”

Exercise 1.1.1

Consider the following works of art. Which of these images do you feel is higher quality or more “artistic”? Which is lower-quality or less artistic? Why? Justify your position by analyzing the elements of each artwork.

While there may be some debate, most students usually respond that Friedrich's painting is more artistic. This is due to several composition differences between the two works:

• Artist’s skill: it certainly appears as if the first image was produced by an artist with superior skill
• Fame: for anyone who knows art history, the first image is famous while the other is not
• Lasting quality: the first image has survived the test of time, remaining popular over two hundred years!
• Meaning: the first image likely conjures deeper feelings, themes, or ideas, such as isolation and the primacy of nature. This is why this image has become the face of Romanticism.

But what about the images demonstrate the artists’ superior skills? While the second image appears to be produced with a simple doodle, and quickly composed, the first indicates more complexity, attention-to-detail, and craft. Freidrich leverages different colors, textures, shapes, and symbols to evoke a feeling in the viewer. Skilled artists will use different techniques, like the way they move the paintbrush, the pressure they exert or the direction of the brush. They will use textured paintbrushes for a specific effect, such as the difference between the light fluffy clouds and dark mountain rocks. They will use different color pallets to project, as accurately as possible, the feelings they are trying to evoke. In short, while anyone can paint, true artists leverage many different skills, techniques, and materials to render what is in their imagination into a real-life product.

So how does this relate to our attempts to define literature?

Literature is art, but with words.

While the artist uses different colors, paintbrushes, mediums, canvases, and techniques, the writer uses different genres and literary techniques called literary devices . Just like different types of paint, paintbrushes, and artistic tools, there are literally hundreds of literary devices, but some of the most common are metaphor, simile, personification, and imagery. Genre is the type or style of literature. Each genre has its own conventions. Literary genres include creative nonfiction, fiction, drama, and poetry . Works that are literary tend to masterfully use genre conventions and literary devices to create a world in the mind of the reader. Works that are less literary tend to be for practical and/or entertainment purposes, and the writer dedicates less focused energy towards artfully employing literary devices.

However, just because a work is not as literary as another does not mean it cannot be enjoyed. Just like a stick figure or cartoon character might be perfectly fine if intended for a particular audience or purpose, readers can still enjoy People Magazine even though it is not of the same literary quality as Hamlet .

So, to use an example from earlier:

While some literature falls into clear designations of literature or not literature, most works are open to debate. Given the sometimes difficult task of determining whether a work falls into one camp or the other, it may be more helpful to think of Literature less as a dichotomy than a spectrum, with popular magazines on one end and works like Hamlet and Beloved on the other, and most written works falling somewhere between the two extremes.

The Literary Spectrum

This spectrum can be a helpful way to think about literature because it provides a more open-ended way to discuss writing as art than simply labeling works as literary or not. After viewing the above chart, why do you think popular magazines and a Calculus textbook are considered "less literary"? In terms of popular magazines, they do not fit the definition of literature as "lasting" in the sense that they usually fade from relevancy quickly after publication. Additionally, the authors of such magazines are striving for quick entertainment rather than leaving a meaningful impression on the reader. They tend not to use literary devices, such as metaphor, in a masterful way. On the other end, Shakespeare's Hamlet definitely fits the definition of "lasting," in that it has survived hundreds of years. It is full of literary devices used for rhetorical effect and, one would argue, it touches upon deep themes such as death, the afterlife, murder, vengeance, and love, rather than trifling issues such as a starlet's most recent plastic surgery.

Certainly, works of literature are up for debate: that is the quintessential question literary scholars might ask. What makes certain literary works survive the test of time? What makes a story, poem, or drama "good"? While literary scholars are less interested in proving a certain work is "good" or not -- and more focused on analyzing the ways to illuminate a given work -- it can be helpful for you to consider what kinds of literature you like and why you like it. What about the way it was written causes you to feel the way you do about it?

Who Decides What is Literature?

Now that we have at least somewhat clarified the definition of literature, who decides what works are or are not literature? Historically speaking, kings, queens, publishers, literary critics, professors, colleges, and readers (like you!) have decided which works survive and which works do not.

Aristotle was one of the first writers to attempt to decide what works fall into the category of literature, and what works do not. While Aristotle was most famous for his contributions to science and philosophy, he is also considered one of the first literary critics. A literary critic is a person who studies and analyzes literature. A literary critic produces scholarship called literary criticism . An example of this would be Aristotle’s Poetics , in which he identifies the defining qualities of a “good” Tragedy. Aristotle’s analysis of Tragedy was so influential that it is still used today, over two thousand years later!

When a work is officially decided to constitute literature, it enters something called the Canon. Not to be confused with the large metal tube that shoots bombs popular in the 16th through the 19th centuries (cannon), the Literary Canon is a collection of works that are considered by the powers that be to constitute literature. A work that falls into this designation is called canonical. So, to use an example from Aristotle’s Poetics , Aristotle defined Sophocles’ Oedipus Trilogy as the pinnacle of the Tragic Genre. From there, in part due to Aristotle's influence, Greek society valued Oedipus so much that they kept discussing, reading, referencing, and teaching it. Thus, it became a kind of shining example of the Tragic Canon, one which has lasted thousands of years and continues to be read and lauded to this day. Other tragedies, fairly or not, are often judged on their quality in comparison to Sophocles' works. Wild to think that someone who died thousands of years ago still influences what we consider literature today!

Memes and Video Games: Today's Literature?

All this talk of thousands-of-years-old texts might seem out of touch. A lot of people think "old and boring" and literature are synonymous. Students are often surprised to hear that comic books and video games can arguably be considered literature, too. There are plenty of arguments to be made that comic books, such as Maus by Art Spiegalman (1991) or Fun Home by Alison Bechdel (2006) are literature. Cutting edge literary scholars argue video games like Kentucky Route Zero by Cardboard Computer (2015) can be considered literary. There is also literature that is published in tweets, like Jennifer Egan's "Black Box" (2012). Some might even consider memes literature!

Generative question: do you think memes can be literary?

A meme is an image or video containing cultural values or ideas, often represented through allusion (implied reference to another work, without naming that work or its author). Memes can spread rapidly spreads through social media. Why? Because the best ones are #relatable; that is, they speak to a common human experience.

Usually memes take the form of text superimposed on an image. For example, the meme above conveys the dramatic reaction students sometimes give when I assign an essay. This is done primarily through a literary device called hyperbole , or exaggeration for rhetorical effect. It conveys its message comically through certain conventions that come along with the meme genre, such as the syntactic structure "me, a [insert noun]" and asterisks, which convey action. Just like in the Shakespearean drama, the colon indicates what each character (me and the students, in this case) is saying or doing. My chihuahua's face looks silly and very dramatic. Through this use of image, text, format, and convention, the meaning I intended to convey was that I was making fun of my students for being over-dramatic about what to me seems like a fairly simple assignment. While some might dismiss memes as shallow, when you start to unravel the layers of meaning, they can actually be very complex and even, dare I say, literary!

Think about a recent meme you have seen, or your favorite meme of all time. Imagine explaining this meme to someone who has no idea what it means. What is the message or idea behind the meme? What cultural reference points does it use to convey its message? In what ways might this meme be considered literature? How might this compare to a short poem, like a haiku?

Not Literature

Let's say you come to the conclusion that a meme, a gossip magazine, or the Twilight Series is not literary. Does that mean you have to feel guilty and give up reading it forever? Or that it is not "good"?

Just because a work is not literary does not mean it is "bad," that it does not have value, or that one cannot enjoy it. Indeed, there are plenty of examples of written works that are on the less literary side of the spectrum but are still fun and enriching to read. Joe Dirt i s not on the same artistic level of cinema as Schindler's List , but my husband still loves watching it. Nothing Taylor Swift has produced is as deep as Tupac Shakur's "Changes" (1992) or Mitski's "Last Words of a Shooting Star" (2014), but listening to Taylor Swift is my guilty pleasure. This is all to say that whether a text is literary or not is not as important as the methods of analyzing texts. In fact, texts which were excluded from literature are often argued into the literary canon through such analysis. Part of what makes analyzing literature so fun is that it means the definition of literature is always up for debate! This is especially important given the history of the canon.

The Problem with the Canon

In an ideal world, literature would be celebrated purely based on its artistic merit. Well-written works would last, poorly-written works would wither from public memory. However, that is not always the case. Works often achieve public prominence or survive based on qualities unrelated to skill or aesthetics, such as an author's fame, wealth, connections, or acceptance by the dominant culture. William Wordsworth, for example, was named Poet Laureate of England and has been taught as one of the "Big Six" major Romantic-era authors ever since. Indeed, he is accepted as part of the Romanticism literary canon. One would be hard-pressed to find a Literature anthology that does not feature William Wordsworth . However, how many people have read or heard of Dorothy Wordsworth , William Wordsworth's sister, who arguably depicted Romantic themes with equal skill and beauty? Or James Hogg, a Scottish contemporary of Wordsworth who was a lower-class shepherd? Similarly, while most readers have encountered F. Scott Fitzgerald or Edgar Allen Poe in their high school literature classes, how many have read Frederick Douglass in these same classes? In short, all artistic skill (arguably) considered equal, why do some authors predominantly feature in the Canon while others do not?

Let’s perform an experimental activity.

• Find a piece of paper or a whiteboard. On this piece of paper or whiteboard, write down as many works of literature that you feel constitute “Big L Literature.” Perhaps they are works you read in high school, works which have been made into films, or works you have been taught or told are literary masterworks. Don’t turn the page until you have written them down. Try to think of at least 10, but a larger sample size is better. Once you are finished, continue to the next paragraph.
• Alright, now look at your list. If you know the author of the literary texts you named, write their name next to the work. If you do not know the author, Google the information and write it down. Continue doing this until you have named the author of each work. Once you are finished, read on to the next paragraph.
• Now, as uncomfortable as it seems, label the gender/race/age/presumed sexual orientation of the authors you listed. After you have categorized them to the best of your ability, consider the following questions:
• What percentage of the authors are male?
• What percentage of the authors are white?
• What percentage of the authors are old/dead?
• What patterns do you notice? Why do you think this is?

I have replicated this experiment dozens of times in the classroom, and, in most classes, the vast majority of what students have been taught are “Literary Masterworks” are written by (pardon my colloquialism) dead white males. Although, as time progresses, it seems there is increasing but not proportionate representation on average. For example, while women make up about half of the population, over 80% of the most popular novels were written by men ("Battle"). While there are many possible reasons for this discrepancy in representation (which could be the focus of an entire textbook), what does this mean for scholars of literature? For students? For instructors? For society?

As a cultural relic, similar to art, many scholars suggest literature is a reflection of the society which produces it. This includes positive aspects of society (championing values such as love, justice, and good triumphing over evil), but it can also reflect negative aspects of society (such as discrimination, racism, sexism, homophobia, historical lack of opportunity for marginalized authors).

For example, enslaved Africans were often prevented from learning to read and write as a form of control. When Phillis Wheatley published her book of poetry, Poems on Various Subjects, Religious and Moral (1773) she had to defend the fact that she wrote it, due to popularly held racist views that slaves were incapable of writing poetry. Later, Frederick Douglass wrote about how his enslavers banned him from reading and writing, as they realized "education and slavery were incompatible with each other" (Douglass). He later championed his learning to read and write as the means which conveyed him to freedom. However, even when trying to publish The Narrative of the Life of Frederick Douglass ( 1845) his publishers were forced to prove that it was, in fact, an enslaved person who wrote the story and not a white man who wrote it for him. Slave owners actively attempted to keep this book from circulation as it threatened the institution of slavery upon which they depended. Indeed, to this day, Douglass' book continues to be banned in some prisons for its potential to incite revolution (Darby, Gilroy).

How could Black writers enter the canon en masse if they were not allowed to read or write? Or if they were forced to spend all of their waking hours working? And if those who had the means to read and write had to jump through absurd hoops just to have their works published? And if even those texts which were published were banned?

Similarly, throughout much of Western history, women have been discouraged from pursuing reading and writing, as it distracted from society's expectations for women to focus on motherly and household duties. Until the 1700s, women were not allowed to go to college. Even then, very few went: only the extremely wealthy. It was not until the 19th century that women attended college in representative numbers. Virginia Woolf wrote in A Room of One's Own that if there are fewer works of literature written by women, it is only because society, historically, has not given women the time, education, funding, or space to do so. In this extended essay, she describes an imaginary sister of William Shakespeare who could have been just as great of a writer had she the same opportunities as her brother.

I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee's life of the poet. She died young—alas, she never wrote a word. She lies buried where the omnibuses now stop, opposite the Elephant and Castle. Now my belief is that this poet who never wrote a word and was buried at the cross-roads still lives. She lives in you and in me, and in many other women who are not here tonight, for they are washing up the dishes and putting the children to bed. But she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh. This opportunity, as I think, it is now coming within your power to give her.

Woolf argues that in our time those who have been excluded from literature can now join the canon by adding their voices. The inequity of representation in literature -- which has arguably improved, but in many ways persists today -- can be remedied if more people from a wide array of backgrounds and walks of life are empowered to study and create Literature. That is one reason why the current study of literature is so exciting. As a student and budding literary scholar, you have the power to influence culture through your reading and analysis of literature! For one author and scholar's perspective on this topic, please watch this the following TED Talk by Chimamanda Ngozi Adichie to see the ways in which such misrepresentations are harmful, and why it is important to veer away from the historically parochial Canon into what Chinua Achebe calls "a balance of stories" (qtd. Bacon).

• Original video available on TED Talk website
• Transcript of video

What "single stories" do you know? What are the "single stories" people have told about you? What story would you tell if you could? What kinds of stories do you want to read? Throughout this class, you will get the opportunity to encounter many different voices and stories from all over the world. While we faced hurdles of copyright permissions, the authors of this textbook attempted to embody the values espoused in this TED Talk & Chinua Achebe's conception of the "balance of stories." As you read the textbook, consider the stories which were omitted, why they were omitted, and what works of Literature you would include in this class if you could.

Works Cited

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

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

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

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

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

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

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

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

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

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

Conducting and Writing Literature Reviews

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• Lorrie Blair 2  

Part of the book series: Teaching Writing ((WRIT))

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To contribute new knowledge to a field of study, students must first establish a comprehensive understanding of existing knowledge. For Holbrook, Bourke, Fairbairn, and Lovat (2007), “The use and application of the literature is at the heart of scholarship—of belonging to the academy” (p. 346). It is the foundation on which the entire thesis rests. However, many students, despite having written many course papers, have no idea of how to write the literature review or even where to start.

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Blair, L. (2016). Conducting and Writing Literature Reviews. In: Writing a Graduate Thesis or Dissertation. Teaching Writing. SensePublishers, Rotterdam. https://doi.org/10.1007/978-94-6300-426-8_4

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Literary English

Different Types of Literature

What is literature.

Literature generally can be any written work, but it especially is an artistic or intellectual work of writing. The usage of language in literature is sometimes different from the way it is ordinarily used. The difference is the use of artistic tools to create aesthetic beauty in a text. Literature is the depiction of the society.  It is a great tool to teach the morality to a society. There are different types of literature through which different writers serve their own ends. Here is the detailed study about types of literature.

Types of Literature

These are the main types of literature:  Drama, Fable, Autobiography, Biography, Poetry, Prose, Science Fiction, and Journalistic Literature.

Drama is a play in literature, and a playwright composes it. It portrays fictional or non-fictional stories. To explain away certain events, characters, or stories, a drama is produced, using dialogues or actions. It can be performed on stage, radio or on big screens as in films. Conflicts, emotions and impressive characters are required to produce a high-quality drama. There are many forms of drama but some of the most common are:  comedy, tragedy, musical drama  and  melodrama . Let us have a brief explanation of these types of drama.

Comedy:  Comedy is a type of drama, which is lighter in tone. Its purpose is to make the audience laugh and amuse them. It has a happy ending. Very unusual circumstances are there coupled with quick and witty remarks. People consider it as the most entertaining and fun form of drama and literature. An example of a comedy drama is  ’The Comedy of Errors’  by William Shakespeare.

Tragedy:  Tragedy is the type of drama that has a dark theme. It portrays suffering, pain, longing, and often death. An example of a tragedy drama is ‘ Romeo and Juliet’  by William Shakespeare.

Musical Drama:  A musical drama tells a story with dialogues, songs, music, and dance. These things convey the emotions in the drama. An example of a musical drama is  ‘A Star is Born’ , which starred Lady Gaga.

Melodrama:  Melodrama is a kind of drama that portrays exaggerated emotions like tension or excitement. It arouses the same emotions in the audience and makes them indulged in it. The situation and the dialogues are more important in a melodrama than action. An example of a melodrama is  ‘Still   Life, Brief Encounter’  by Noel Coward.

Writers write a fable when the intention is to provide the audience with a moral story. A fable usually uses animals as characters to convey the story. In Fables, animals act like humans and are able to speak and understand reasoning. They are a personification of human characteristics and their nature. An example of a fable is the famous story of  ‘The Tortoise and the Hare’ , which almost every child has heard in his childhood.

Autobiography

  Autobiography is an interesting thing to read because of its teller of the story is the one, about who the story is. The character himself is the writer and describes his life from his own original perspective and experiences. It gives you an insight on the person that is writing it, because they share their true-life events and thoughts. Mostly, famous people write autobiographies to tell their story to their fans and the world. A famous and spectacular example of autobiography is  ‘The Diary of a Young Girl’ , a book by Anne Frank.

Biography in literature tells the story of a person from another person’s perspective. Someone else writes it rather than the subject himself. The writer could be somebody close to the person or somebody who had studied about that person. Biography is different from a resume because it enlightens the audience with different aspects of a person’s life. A great example of biography is  ‘Unbroken:   A World War II Story of Survival, Resilience, and Redemption’,  by Laura Hillenbrand.

Poetry in literature is a composition of rhythm, sound, and lyrics. The definition of poetry by one of the greatest poets in history, William Wordsworth, is  “the spontaneous overflow of powerful feelings” . ( 1 ) The poet composes poetry in sort of a song to develop emotions and imaginations in the listeners’ hearts and minds. Poetry is aesthetic. The poet chooses words carefully, so the listeners can relate themselves to it. The four main types of poetry are  haiku, free verse, sonnets,  and  acrostic   poems . An example of one of the most beautiful books of poetry is  ‘Ariel’ , by Sylvia Plath.

Prose in literature is that form of literature, which is somewhat plain and simple. It has no special grammar structure or a writing pattern to follow. It is written in a usual tone, forming into a natural speech or a conversational tone. Nothing is specific in prose. Paragraphs or sentences can be long or short. Examples of prose include novels, newspapers, textbooks, etc.

Science Fiction

Science fiction, also called “sci-fi,” is a genre of literature where most of the things are imaginary. The stories are about the future technology. These fiction stories also have a relationship to real science laws, because science considers those things possible in future, according to the scientific laws. Science fictions are sometimes true and sometimes they are just imaginations based on assumptions. Some examples of science fiction are,  ‘The Time Machine’  by H. G. Wells,  ‘Spies in Disguise’  by Blue Sky Studios,  ‘A Wrinkle in Time’  by Madeleine L’Engle, etc.

Journalistic Literature

Journalistic Literature is a sort of nonfiction. In literary journalism, the journalist gathers information and then creates and publishes. It combines the facts and reporting with some clever strategies and narrative techniques. These techniques make the reports more engaging and interesting. People call literary journalism also Narrative or New Journalism. Some of the most prominent literary journalists of past and present are Mark Singer, Richard Rhodes, Jack London, Stephen Crane, Tom Wolfe, Henry Mayhew, etc. ( 2 )

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Computer Science > Cryptography and Security

Title: large language models for cyber security: a systematic literature review.

Abstract: The rapid advancement of Large Language Models (LLMs) has opened up new opportunities for leveraging artificial intelligence in various domains, including cybersecurity. As the volume and sophistication of cyber threats continue to grow, there is an increasing need for intelligent systems that can automatically detect vulnerabilities, analyze malware, and respond to attacks. In this survey, we conduct a comprehensive review of the literature on the application of LLMs in cybersecurity (LLM4Security). By comprehensively collecting over 30K relevant papers and systematically analyzing 127 papers from top security and software engineering venues, we aim to provide a holistic view of how LLMs are being used to solve diverse problems across the cybersecurity domain. Through our analysis, we identify several key findings. First, we observe that LLMs are being applied to a wide range of cybersecurity tasks, including vulnerability detection, malware analysis, network intrusion detection, and phishing detection. Second, we find that the datasets used for training and evaluating LLMs in these tasks are often limited in size and diversity, highlighting the need for more comprehensive and representative datasets. Third, we identify several promising techniques for adapting LLMs to specific cybersecurity domains, such as fine-tuning, transfer learning, and domain-specific pre-training. Finally, we discuss the main challenges and opportunities for future research in LLM4Security, including the need for more interpretable and explainable models, the importance of addressing data privacy and security concerns, and the potential for leveraging LLMs for proactive defense and threat hunting. Overall, our survey provides a comprehensive overview of the current state-of-the-art in LLM4Security and identifies several promising directions for future research.

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Incidence and prevalence of interstitial lung diseases worldwide: a systematic literature review

Affiliations.

• 1 National Heart and Lung Institute, Imperial College London, London, UK [email protected].
• 2 Real-World Evidence, Gilead Sciences, Foster City, CA, USA.
• 3 Imperial College London, London, UK.
• 4 NIHR Imperial Biomedical Research Centre, London, UK.
• 5 Royal Brompton and Harefield NHS Foundation Trust, London, UK.
• 6 National Heart and Lung Institute, Imperial College London, London, UK.
• PMID: 37308252
• PMCID: PMC10277538
• DOI: 10.1136/bmjresp-2022-001291

Interstitial lung disease (ILD) is a collective term representing a diverse group of pulmonary fibrotic and inflammatory conditions. Due to the diversity of ILD conditions, paucity of guidance and updates to diagnostic criteria over time, it has been challenging to precisely determine ILD incidence and prevalence. This systematic review provides a synthesis of published data at a global level and highlights gaps in the current knowledge base. Medline and Embase databases were searched systematically for studies reporting incidence and prevalence of various ILDs. Randomised controlled trials, case reports and conference abstracts were excluded. 80 studies were included, the most described subgroup was autoimmune-related ILD, and the most studied conditions were rheumatoid arthritis (RA)-associated ILD, systemic sclerosis associated (SSc) ILD and idiopathic pulmonary fibrosis (IPF). The prevalence of IPF was mostly established using healthcare datasets, whereas the prevalence of autoimmune ILD tended to be reported in smaller autoimmune cohorts. The prevalence of IPF ranged from 7 to 1650 per 100 000 persons. Prevalence of SSc ILD and RA ILD ranged from 26.1% to 88.1% and 0.6% to 63.7%, respectively. Significant heterogeneity was observed in the reported incidence of various ILD subtypes. This review demonstrates the challenges in establishing trends over time across regions and highlights a need to standardise ILD diagnostic criteria.PROSPERO registration number: CRD42020203035.

Keywords: Asbestos Induced Lung Disease; Clinical Epidemiology; Interstitial Fibrosis; Systemic disease and lungs.

© Author(s) (or their employer(s)) 2023. Re-use permitted under CC BY-NC. No commercial re-use. See rights and permissions. Published by BMJ.

Publication types

• Systematic Review
• Arthritis, Rheumatoid*
• Idiopathic Pulmonary Fibrosis*
• Lung Diseases, Interstitial*