Literary in the context of "Letter (message)"

Socratic dialogue (Ancient Greek: Σωκρατικὸς λόγος) is a genre of literary prose developed in Greece at the turn of the fourth century BC. The earliest ones are preserved in the works of Plato and Xenophon and all involve Socrates as the protagonist. These dialogues, and subsequent ones in the genre, present a discussion of moral and philosophical problems between two or more individuals illustrating the application of the Socratic method. The dialogues may be either dramatic or narrative. While Socrates is often the main participant, his presence in the dialogue is not essential to the genre.

Mimesis (/mɪˈmiːsɪs, maɪ-/; Ancient Greek: μίμησις, mīmēsis) is a term used in literary criticism and philosophy that carries a wide range of meanings, including imitatio, imitation, similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.

The original Ancient Greek term mīmēsis (μίμησις) derives from mīmeisthai (μιμεῖσθαι, 'to imitate'), itself coming from mimos (μῖμος, 'imitator, actor'). In ancient Greece, mīmēsis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative. After Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society.

Cultural policy is the government actions, laws and programs that regulate, protect, encourage and financially (or otherwise) support activities related to the arts and creative sectors, such as painting, sculpture, music, dance, literature, and filmmaking, among others and culture, which may involve activities related to language, heritage and diversity. The idea of cultural policy was developed at UNESCO in the 1960s. Generally, this involves governments setting in place processes, legal classifications, regulations, legislation and institutions (e.g., galleries, museums, libraries, opera houses, etc.) which promote and facilitate cultural diversity and creative expressions in a range of art forms and creative activities. Cultural policies vary from one country to another, but generally they aim to improve the accessibility of arts and creative activities to citizens and promote the artistic, musical, ethnic, sociolinguistic, literary and other expressions of all people in a country. In some countries, especially since the 1970s, there is an emphasis on supporting the culture of Indigenous peoples and marginalized communities and ensuring that cultural industries (e.g., filmmaking or TV production) are representative of a country's diverse cultural heritage and ethnic and linguistic demographics.

Cultural policy can be done at a nation-state level, at a sub-national level (e.g., U.S. states or Canadian provinces), at a regional level or at a municipal level (e.g., a city government creating a museum or arts centre). Examples of cultural policy-making at the nation-state level could include anything from funding music education or theatre programs at little to no cost, to hosting corporate-sponsored art exhibitions in a government museum, to establishing legal codes (such as the U.S. Internal Revenue Service's 501(c)(3) tax designation for not-for-profit enterprises) and creating political institutions (such as the various ministries of culture and departments of culture and the National Endowment for the Humanities and the National Endowment for the Arts in the United States), arts granting councils, and cultural institutions such as galleries and museums. Similar significant organisations in the United Kingdom include the Department for Culture, Media and Sport (DCMS), and Arts Council England.

The Apollonian and the Dionysian are philosophical and literary concepts represented by a duality between the figures of Apollo and Dionysus from Greek mythology. Its popularization is widely attributed to the work The Birth of Tragedy by Friedrich Nietzsche, though the terms had already been in use prior to this, such as in the writings of poet Friedrich Hölderlin, historian Johann Joachim Winckelmann, and others. The word Dionysian occurs as early as 1608 in Edward Topsell's zoological treatise The History of Serpents. The concept has since been widely invoked and discussed within Western philosophy and literature.

In Greek mythology, Apollo and Dionysus are both sons of Zeus. Apollo, son of Leto, is the god of the sun, art, plague and disease, of rational thinking and order, and appeals to logic, prudence and purity and stands for reason. Dionysus, son of Semele, is the god of wine, dance and pleasure, of irrationality and chaos, representing passion, emotions and instincts. The ancient Greeks did not consider the two gods to be opposites or rivals, although they were often entwined by nature.

Interactive fiction (IF) is software simulating environments in which players use text commands to control characters and influence the environment. Works in this form can be understood as literary narratives, either in the form of Interactive narratives or Interactive narrations. These works can also be understood as a form of video game, either in the form of an adventure game or role-playing game. In common usage, the term refers to text adventures, a type of adventure game where the entire interface can be "text-only", however, graphical text adventure games, where the text is accompanied by graphics (still images, animations or video) still fall under the text adventure category if the main way to interact with the game is by typing text. Some users of the term distinguish between interactive fiction, known as "Puzzle-free", that focuses on narrative, and "text adventures" that focus on puzzles.

Due to their text-only nature, they sidestepped the problem of writing for widely divergent graphics architectures. This feature meant that interactive fiction games were easily ported across all the popular platforms at the time, including CP/M (not known for gaming or strong graphics capabilities). The number of interactive fiction works is increasing steadily as new ones are produced by an online community, using freely available development systems .

The Mansi languages are spoken by the Mansi people in Siberia, Russia along the Ob River and its tributaries, in the Khanty–Mansi Autonomous Okrug, and Sverdlovsk Oblast. Traditionally considered a single language, they constitute a branch of the Ugric languages, within the broader Uralic language family. They are often considered most closely related to neighbouring Khanty and then to Hungarian.

The base dialect of the Mansi literary language is the Sosva dialect, a representative of the northern language. Fixed word order is typical in Mansi. Adverbials and participles play an important role in sentence construction.