- Informationen
- KI Chat
Literary-Zusammenfassung
Introduction to Literary Studies (L.008.32380)
Universität Paderborn
Kommentare
- Thanks for sharing!
- gute arbeit
Ähnliche Dokumente
- As you like it summary - Zusammenfassung As You Like It - As You Like It
- Literary Studies SoSe 17 Zsmfassung
- Literay Studies - Das sind meine Lernzettel für das Wintersemester 17/18 sowie das Sommersemester
- Merkzettel Literary Studies
- Intro I + II Literary Studies
- Lernzettel Introduction to Literary Studies
Text Vorschau
1 to Literary Studes Literary Studies contain three main fields of research: literary theory textual analysis and interpretation literary history Taxonomy (classification) of literature language literature in the German, English, Romance, etc. languages nation German, English, Scottish, American, Irish, French national literatures categories of aesthetic and literature, popular literature, pulp evaluation fiction sociological categories working class literature historical categories classical medieval, contemporary literature related categories oral, written, audiovisual literature relation to reality realistic and mimetic (from meaning versus fantasy literature conventionality of mode traditional versus innovative or experimental literature of representation Genres: poetry: sonnets, odes, ballads... narrative: short story, novel (crime novel, historical novel, Bildungsroman), fable, epic drama: comedy, tragedy, history play... Story What is told? (content of the narrative expression) discourse How it is told? (the form of that expression) e. form of poem Literary History (nach Old English Period Middle English Period Renaissance Commonwealth and Protectorate Restoration and Enlightenment Romantic Period Vicotrian Period Edwardian Period Modernism since 1945 and Postmodernism Periods: English Literature dates periods lyrics texts 500 1150 Old English literature 1500 Middle English literature (nach Sanders) Old English Literature Medieval Literature Renaissance and Reformation Revolution and Restoration Literature since 1945 Romantic Period High Victorian Literature Late Victorian and Edwardian Li. Modernism and its Alternatives and Lit. Genres Authors of dramatic texts The Dream of the Rood Brut narrativs texts Beowulf Mystery Plays, Morality Plays (Everyman) Geoffrey Chaucer Thomas Malory 1649 Renaissance John Donne, Sir Philip Sidney, Edmund Spenser Ben Jonson, Christopher Marlowe, William Shakespeare Thomas Morus, Sir Philip Sidney 1660 Commonwealth and Protectorate Andrew Marvell, John Milton 1700 Restoration Samuel Butler, John Dryden, Earl of Rochester, William Congreve, John Dryden, William Wycherley 1780 Neoclassicism and Enlightenment Thomas Gray, Samuel Johnson, Alexander Pope, Lady Wortley, Montagu, Susanna Centlivre, John Gay, Oliver Goldsmith, Eliza Haywood, Richard B. Sheridan 1837 Romanticism William Blake. George G. ron, Samuel T. Coleridge, Percy B. Shelley, William Wordsworth Sentimental Novel, Gothic Novel, Jane Austen, Edward Maria Edgeworth, Walter Scott, Mary Shelley, 1901 Victorian era Elizabeth Barret Henry Arthur Jones, Browning, Arthur Wing Pinero, Robert Browning, Oscar Wilde, Gerard M. Hopkins, Christina Rosetti, Dante Gabriel Rosetti, Alfred Tennyson, Charlotte Bronte Charles Dickens, George Eliot, Elizabeth Gaskell, Robert L. Stevenson, William M. Thackeray, Anthony Trollope, 1914 Edwardian era Thomas Hardy John Galsworthy, G. Shaw, John M. Synge, William B. Yeats, Arnold Bennet, Joseph Conrad, E. Forster, H. Wells 1945 Modernism W. H. Auden T. S. Eliot, Siegfried Sassoon, Stevie Smith, Dylan Thomas Noel Coward, Sean J. Priestley, Elizabeth Bowen, Ivy Compton James Joyce, D. Lawrence Virginia Woolf, 2004 era Eavan Boland, Samuel Beckett, Peter Ackroyd, Wendy Cope, Caryl Churchill, John Banville, D. J. Enright, Sarah Daniels, Pat Barker, Seamus Heaney, Pem Gems, A. att, Angela Ted Hughes, Sarah Kane, Carter, John Fowles, Philip Larkin, John Osborne, John Fowles, Paul Muldoon, Louise Page, Kazuo Ishiguro, R. Thomas Harold Pinter, Penelope Lively, Peter Shaffer, David Lodge, Tom Stoppard, Ian McEwan, Timberlake Graham Swift, Wertenbaker Jeanette Winterson Aphra Behn, John Bunyan Daniel Defoe, Henry Fielding, Samuel Richardson, Laurence Sterne Literary Periods are often also based on general history. Some of the most important dates in American history are: 43 Roman Conquest of Britain starts 1066 Wiliam the Conqueror invades England 1215 Magna Carta 1558 Elizabethan era begins 1588 The Spanish armanda aborts the invasion of England 1603 Union of the English and Scottisch crown under James I., shift from Catholicism to Protestantism 1620 Mayflower arrices in America 1642 First English Civil War 1688 Glorious Revolution 1707 Act of Union 1745 Second Jacobite Rebellion 1776 Declaration of Independence 1805 Battle of Trafalgar 1815 Victory over Napoleon at the battle of Waterloo 1832 Reform Act 1837 Victorian era begins 1851 Great Exhibition 1901 Victoria dies 1917 U. Joins the Alliens in WWI 1947 Indian Independence Act Mimesis vs. Diegesis (telling) Aristot. Indicator: this is a story to telling wahrheitsgetreu Monologe intertextuality zwischen) interdependendency of texts Ferdinand de Saussure: semiotics (study of the sign) Syntagmatic axis Speech situation explicit implicit Discourse (How) vs. Story (What) Story vs. Plot (E. Foster) story: chronological sequence of events (and not for the causal relations) plot: the various events are linked causally and logically to one another Kernels and Catalysts (Satellites...) important less important Order of Events (Chronological...) Further reading chapter 1 2. Roman Communication Model Jakobsen was a Russian structuralist. According to him, a communicative situation can be analysed into: Six factors Six functions of language: subject referential addresser message addressee emotive, expressive poetic conative medium of contact phatic code metalingual Can be applied to Literature: Literature is communication. Addresser and addressee need to share a code (precondition). Most dominant form of literary texts and especially poetry: Poetic function: the principle of equivalence from the axis of selection into the axis of (Jakobsen 1960: 358) syntagmatic axis: axis of combination: horizontal axis: continguity paradigmatic axis: axis of selection: vertical axis: similarity Further reading: The Poem as an Textual Structures. Rhetorical figures: Anaphora repetition of a word or group of words at the beginning of successive clauses or lines of verse e. So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. Synonymy repetition the replacement of one word with another of the same meaning e. For thee I watch, whilst thou dost wake elsewhere. Parallelism succession of clauses or sentences of the same structure e. Happy my studies, when these approved! Happier their author, when these beloved! Chiasmus reversal of structures in successive clauses e. With wealth your state, your mind with arts, improve Asyndeton succession of words or phrases without conjoining words e. all whom war, dearth, age, agues, tyrannies, Despair, law, chance hath Inversion reversal of normal word order e. Here rests his head upon the lap of earth. Ellipsis omission of sentence components e. Authors are partial to their wit, But are not Critics to their judgement too? Zeugma application of one verb to more than one object in different senses e. Here thou, great Anna! Whom three realms obey, Dost sometimescounsel take and sometimes Tea. Imagery : tropes: Simile one thing is likened to another means of a comparative participle e. My love is like a red, red rose. vehicle and tenor allude to different sensory perceptions e. And the hapless sigh Runs in blood down palace walls. Hyperbole use of (excessive) exaggeration Oxymoron trenchant combination of two apparently contradictory terms e. O heavy lightness! Serious vanity! Paradox an apparently contradictory statement which, on closer inspection, is found to be true e. We die and rise the same. Antithesis juxtaposition of two logically opposed elements e. Resolved to win, he meditates the way, force to ravish, or fraud Further reading: p. Complex Semantic Structures: Imagery Metre Identifying Metre is important for the analysis of poetry. While reading a poem you look at the phonological syllables they can be either stressed (emphasized) or unstressed. Then you group them into feet: Important Metrical feet in English language: Trochee stressed unstressed: metre, double Iamb unstressed stressed: destroy, compare... Dactyl Stressed, unstressed, unstressed: pleasantly, literature Anapeast unstressed, unstressed, stressed: seventeen, understand Spondee : stressed, stressed: football, heartbreak The next step is to count the number of feet in a line: Tetrameter 4 feet Pentameter 5 feet Hexameter 6 feet 7 feet Example: iambic pentametre lines consist of 5 imabs: Shall I compare thee to a day (Shakespeare). Further reading: NUNNING p. 60: Complex Phonological HELPFUL FOR PRACTICE: Website University of Glasgow: Sonnets consist of 14 lines (sometimes the title is included) Form and Content: the sonnet does is to give positive form to a confession of unstable (Spiller) Type Italian sonnet English sonnet Most famous poet Petrarch Shakespeare structure Octave Sestet 3 Quatrains 1 Couplet Rhyme scheme Octave : abba abba Sestet: cdecde (or cdccdc), but variations possible abab cdcd efef gg Volta (shift) Generally line 9 (beginning of sestet) Shakespeare: often in couplet Others: third quatrain Metre Often imabic pentameter Variation on English sonnet: Spenserian sonnet (ababbcbccdcdee) Speech Situation explicit (Sonnet 18) implicit ( to make a prairie) Addressee reader (for whom the poem is written) Poetic Voice Speaker person speaking in the poem not author lyrical I Rhyme Pattern day may rhyme rhyme within 1 verse I am the daughter of earth and water masculine rhyme rhyme, last syllable stressed feminine rhyme rhyme, last unstressed (syll. before stressed) passion rich rhyme (CVC) write eye rhyme come home identical rhyme I eye rhyming couplet 2 verses rhyming (end of sonnet) alternate rhyme abab rhyme) embracing abba chain rhyme aba bcb cdc tail rhyme aab ccb caesura break within a verse (comma) Typical Narratics To identify a narrative situation we have to look at the following elements of a narrative transmission: Mode: Person: Perspective: narrator vs. Reflector 1st person vs. 3rd person internal vs. external (can we identify a narrator or not?) The Three Narrative Situations narrative situation: mode: narrator person: 1st person perspective: internal (but only the character of the I, external for other characters) narrator is involved in the events of the narrative as either (main character) or (other character) 2 narrative situation: mode: narrator person: 1st or 3rd person perspective: external (but narrator can the characters) The authorial narrator is not a character in the story. limitation: omnisience and omnipresence of the authorial narrator. 3 narrative situation: mode: reflector person: 3rd person perspective: internal ( for reflector) Events of a story are presented the of one character: the reflector. Further reading: p. Characteristics of the Three unreliable narration the reader cause for Textual signals (from p) explicit contradictions within the comments discrepancies between statements and actions of the narrator contrasting versions of the same event discrepancies between his or her account and interpretation of events attempts to manipulate responses contradictions between and characterisation others reference to own credibility (or lack of) Example: Edgar Allan Poe, Further reading : The Structure of Narrative Transmission Characterisation Literary texts consist of words, but the course of reception process they frequently come to resemble real human 106) characterisation the narrator characterisation characters other characters further distinction explicit (direct) characterisation directly specified (John was an aggressive man) implicit (indirect) characterisation analysed from behaviour (John fought very often, for no apparent reason) flat characters (stereo) types, often telling names (example: Little Red Riding Hood) static characters round characters detailed characterisation, perceived as different sets of behaviour dynamic characters Further reading: Character, Plot and Narrated World Time: Order of events: Example: Three events: birth, up, death chronological order: A B C anachronic order: C B A analepsis (interrupted flashback): B A C prolepsis (flashforward): A C B Duration: relation of discourse and story time Discourse time: Time it takes to narrate the story (or how long it takes to read it) Story time: Time of the narrated events summary: discourse time story time scene: discourse time story time stretch: discourse time ( 0, is omitted), story time 1 pause: discourse time (1, continues), story time 0 (stops) Frequency: singulative narration: event happens once, is narrated once repeating narration: event happens once, is narrated multiple times iterative narration: event happens multiple times, is narrated once Further reading: p. Categories for the Representation of Time and Space 5. Introduction to DRAMA Drama is generally written to be performed. Dialogue is most important for transport of ingormation. Difference to narrative texts: No mediating level. (there is no narrator ( in most cases): communication takes place on the level of the characters: of narrative (PHISTER 1988:4) Basic terms: dramatic text: the text of the drama, which you can read ( author as addresser, text as massage) a script for the performance and consists of the main or primary text (spoken on stage) and the paraphernalia or secondary text (not spoken on stage stage, such as stage directions, table of contents, list of roles, etc.) theatrical text: the drama performed, (theatre apparatus as addresser, performance as message) a multimedial text: alongside the verbal communication between the characters a variety of other media acquire meaning: props, set, lighting, acoustics, ect. stature, facial expressions, gestures, voice, register, etc. primary text: all of the lines (dialogue) secondary text: all other text: title, list of characters (dramatis personae), stage directions... Structure: Pyramid Exposition: Act 1 The Opening scene with witches and their prophecy Rising Action: Act 2 Duncan dies Climax: Act 3 Banquos death disappearance, Banquos ghost appears(hallucination) Falling Action: Act 4 Prophecy becomes true Catastrophe: Act 5 Death (Denouement) Dialogue Monologue Soliloquy two or more characters are talking to each other A Character talking to himself while other are around him on stage (Lady Macbeth talking to herself during her sleepwalk, act 5 scene 1) the speaking character is alone on stage (Macbeth thinking about killing Duncan, act 1 scene 7) Aristot. Unity of Macbeth : to many years NO not only one place England Scotland NO not only one Further reading: p. A Text Written For Performance close relationship between the written text of a drama and its performance in the theatre hold the mirror up to is admittedly historically determined and based on a particular conception of literature as imitation of nature two important components of drama: interplay between word and gesture The dramatic text as script and the play differ from other literary genres in their communication situation not primarily written to be read BUT: as a script for a theatre performance performed as play script of theatre production (resources in terms of personnel and organisation) Collective nature of production and reception text play communication situation is entirely different several individuals involved in the production of the play (director, dramatic adviser, setdesigners and performance attended large audiences collective nature of production and watching, and not reading, is the most appropriate mode of reception for drama Theatre performances as multimedial forms of presentation process of preparing a drama for performance form of literary adoption use as well as verbal modes of communication involves an acoustic (voices, noises, music) and an optical dimension (set, presentation of the characters, gesture, facial expression), other modes of sensory perception theatre performance form of wide repertoire of verbal and signs and codes on a variety of modes of perception or communication channels Interaction between drama and theatre drama and theatre are closely related dramatic text script on which a performance is based dramatic text a text to be performed, as a literary artefact conceived with a view to its distinct modes or media of artistic expression Variations in performance and production dramatic work can be varied in performance actors have considerable scope for individual interpretations every performance should be regarded as an independent work of various performances any individual drama variation, which affects in particular the presentation of characters, gesture and setting outlines of the action and the temporal structure of a drama tend to be prescribed the theatre performance differs in various ways from drama as written text most obvious performance is a transient event that can never be exactly reproduced Theatre studies vs. English literary studies both concerned with the broad field of drama and theatre BUT: their objects and methods differ considerably distinction between the two disciplines: theatre studies focuses primarily on the or the (concerned with the analysis of actual performance and production of plays in a theatre) and American literary studies are concerned primarily with the analysis and interpretation of dramas as printed texts (written sources of theatre performance, generic characteristics of dramatic texts, interpretation, thematic, formal characteristics, individual dramas Performance criticism encompasses a variety of approaches, which focus primarily on the drama is analysed with a view to its production potential The Communication Model (Drama, Narrative, Poetry) The speech situation is one of the fundamental structuring principles of literary According to the 3 main genres (narrative, drama, poetry) we have 3 different Communication Models to consider. In the Communication Model of poems we have to make a distinction between the real author and the speaker I lyric and a further distinction between the real reader and the fictive addressee The real author and the real reader belong to the extratextual level, whereas the speaker and the fictive addressee belong to the intratextual level! Comparing the Communication Model of the Poem with the Communication Model of Dramatic texts, there is a difference in the internal communication situation. Firstly we can say that in this case we have characters instead of the lyric I and the fictive addressee. Those characters can move between the roles of addresser and addressee as often they like (arrow showing in both directions). The third peculiarity of the dramatic text is the dialogue. In dramas we do not have a narrative level, the consequence for that is that the dialogues are important to bring the action forward: through showing (mimesis) not telling (diegesis). In dramatic texts there is a lack of mediating level of communication, which is available in narrative texts. But therefore there is another difference we have to consider while talking about the narrative communication model: the two intratextual levels. The speech (story) situation (intratextual level of communication 2) is embedded in the communication level of the narrative transmission (intratextual level of communication 1).1 1 cp. Ansgar and Vera: An introduction to the Study of English and American Literature. Stuttgart, 2009.
Literary-Zusammenfassung
Kurs: Introduction to Literary Studies (L.008.32380)
Universität: Universität Paderborn
- Entdecke mehr von:
Was Studierende auch interessant finden
Ähnliche Dokumente
- As you like it summary - Zusammenfassung As You Like It - As You Like It
- Literary Studies SoSe 17 Zsmfassung
- Literay Studies - Das sind meine Lernzettel für das Wintersemester 17/18 sowie das Sommersemester
- Merkzettel Literary Studies
- Intro I + II Literary Studies
- Lernzettel Introduction to Literary Studies