Definitions Flashcards

(94 cards)

1
Q

Literary Theories
Definition of ‘literature’

A
  • broad vs. narrow
  • normative vs. descriptive
  • extrinsic vs. intrinsic
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2
Q

literary communication system

A

Sender/Author -> Message/Code/Literary
Text-> Receiver/Reader

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3
Q

the 6 functions of language

A
  • emotive (addresser) - state something “wow!”
  • conative (addressee) - motivate to do something “go away!”
  • phatic (medium of contact) - establishing communication “Hello? Can your hear me?”
  • poetic (message) - focus on the message “Black and white”
  • metalingual (code) - language can be (non-) verbal expressive “An apple is a fruit”
  • referential (context/subject) “the earth is round”
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4
Q

Literal vs. Figurative

A

literal: actual example

figurative: metaphorical example to show your meaning

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5
Q

Denotative vs. Connotative

A

denotation: actual meaning of the word
connotation: the association made with the word

Example: snake
denotation: snake (meaning of the word)
connotation: devil/poisonous

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6
Q

Literary Periods according to Nünning (11)

A

500-1150 Old English Period
1150-1500 Middle English Period
1500-1649 Renaissance
1649-1660 Commonwealth
1660- 1700 Restoration
1700-1780 Neo-Classicism and Enlightenment
1780-1837 Romantic Period
1837-1901 Victorian Period
1901-1914 Edwardian Period
1914-1945 Modernism
since 1945 Post-War and Postmodernism

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7
Q

Intertextuality

A

interconnectivness of texts
- complex

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8
Q

(Literary) History
43, 1066, 1215, 1558, 1588

A

43 - Roman Conquest
1066 - Norman Conquest
1215 - First Constitution
1558 - Elizabethan Age begins
1588 - Defeat of the Spanish

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9
Q

(Literary) History
1603, 1620, 1642, 1688, 1707

A

1603 - James I becomes King
1620 - Mayflower arrives in America
1642 - First English Civil War
1688 - Glorious Revolution
1707 - England & Scotland uniteed

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10
Q

Discourse vs. story

A

Discourse: How is the story told?
Story: What is told in the story?

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11
Q

Taxonomy

A

Science of classification
- Literary History and Periodization
- Genres
- Stylistic Devices
- Languages
- Nationality
- Gender

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12
Q

Genre

A

three main genres:
- Drama (comedy, tragedy, history play,…)
- Narrative (short story, novel, fairytale,…)
- Poetry (sonnet, ballad, ode,…)

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13
Q

Paradigmatic/Syntagmatic
(Dichotomie)

A

paradigmatic: exchangeability of (linguistic) elements
syntagmatic: compability of elements

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14
Q

Nature and characteristics of Poetry (6)

A

tendency towards:
- relative brevity (mostly short)
- compression of thoughts
- musicality
- structural and phonological complexity
- morphological and syntactic complexity
- deviation from everyday language

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15
Q

Structural Elements
(Poetry)

A

stanza, verse, …

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16
Q

Stylistic Devices (poetry)

A
  • phonological devices (rhyme, metre, alliteration,…)
  • syntactic devices (parallelism,…)
  • Morphological devices (anaphora,…)
  • semantic devices (simile, metaphor,…)
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17
Q

Phonological figures

A

Alliteration: following words starting with the same letter/sound

Rhyme: a consonance between all phonemes following the last stressed vowel
Sull/perfect/true Rhyme: exact consonance of phonemes in the rhyming syllables

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18
Q

Rhyme schemes

A

rhyming couplets (aa bb cc)
cross rhyme (abab cdcd)
embracing rhyme (abba cddc)
chain rhyme (aba bcb cdc)
tail rhyme (aab ccb)

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19
Q

Stanzas
Poetry

A

couplets (2 lines)
Tercets
Quatrain
Quintet
sestet
Septet
Octave (8 lines)

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20
Q

syntactic figures
poetry

A

Ellipsis = words being left out of a sentence, but it is still understandable
Inversion = reversal of normal word order
Parallelism = Succession of sentences of same structure

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21
Q

morphological figures
Poetry

A

Anaphora = repitition of words at the beginning of successive clauses
Epiphora = Repitition of words at the end of successive clauses

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22
Q

semantic figures

A

most significant:
- Metaphor
- Simile
- Metonymy
- Synecdoche

=> all types of metaphors but specialized versions

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23
Q

Metaphor

A
  • something stands for something else
    “Eye of heaven” = the sun
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24
Q

Metonymy

A

something casually/logically connected stands for something else
- “The pen (writing) is mightier than the sword (war)”

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25
Synechdoche
a metonymy but a part stands for the whole - Sail -> ship - Motor -> car - Hands -> workers
26
Simile
comparison that is shown by the use of "like", "as",... - Thou art like a toad, ugly and venomous."
27
communication model poetry
Intra textual lvl = Characters & story (fictive speaker, lyric persona -> subject matter of speech -> fictive addressee) Extra textual lvl = Narrative Transmission (real-author; real-reader)
28
Lyric Persona/ Lyrical "I"
fictive speaker in the text (not the real author)
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Lyric "Thou"
fictive addressee in the text (not the real reader)
30
Explicit vs. Implicit Poetry
Explicit: direct, fully stated, clearly perceptible, feelings and thoughts -> ouvert Implicit: hidden, indirect, does not appear as an indfividualized lyric persona -> covert
31
English vs. Italian sonnett
English: Shakespeare - 3 quatrains 1 couplet - abab cdcd gg - volta before climax in couplet Italian: Petrach - 1 octave a sestet - abba abba cdccdc - colta after octave => two typical features of a sonnett: 14 lines Subject: love, beauty
32
Volta Poetry
turn of thought within a sonnett/poem
33
plot vs. story Narrative
Plot = squence of events + cause (causality) Story = sequence of events (chronology) Examples: plot: "the king died and then the queen died of grief" story: "the king died."
34
Events narrative
- smallest unit of story/plot - are actions that change a given situation in the story - peoples action forward brings about change - not always equally important
35
Story time vs. Discours time Narrative
story time: time it takes to narrate (time that passes in the story) discourse time: time covered by the narrated event (time that it takes me to read the story)
36
Time Analysis Narrative
3 aspects: duration, order, frequency
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Time Analysis : Duration Narrative
story time = st / discourse time = dt Summary: dt < st Scene: dt = st Stretch: dt > st Elipsis: no dt vs. only st pause: only dt. vs. no st
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Time Analysis: Order Narrative
chronological vs. anachronological - flash back - flash forward
39
Time Analysis: Frequency Narrative
Singulative: event happens once Repetitive: Event happens once, but is referred to various times Herative = Event happens multiple times
40
Point of view Narrative
- external vs. internal - Narrator vs. Character
41
Modes of Representation Narrative
Showing (mimesis): little or no narrational mediation, overtness or presence (no narrator) Telling (diegesis): Narrator in overt control of action presentation
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Representation of Events Narrative
mimetic - direct discourse - free indirect discourse - indirect discourse - report/summary - comment diegetic
43
Representation of Consciousness Narrative
'purely' mimetic - free direct discourse - direct discourse - free indirect discourse - indirect discourse - diegetic summary 'purely' diegetic
44
Examples Direct Discourse Indirect Discourse Free Indirect Discourse
Direct Discourse: "She said, "I love Literary Studies" Indirect Discourse: She said that she loved Literary Studies. Free Indirect Discourse: She loved Literary Studies.
45
Narrative Situation (Stanzel) Narrative
- 1st person - Authorial - Figural
46
1st person Narrator
- involved in the story - "narrating I"/"experiencing I" - involved as protagonist (I-as-protagonist) or peripheral character (I-as-witness) - narrative situation: limited -> no insight into the thoughts/feelings of the other characters
47
Authorial Narrator
- situated outside the world of characters (god-like view) - present themselves as fictive individuals (by comments, moral judgements, etc. on events) - typical features: flashforwards, generalisations - narrative situation: unlimited -> omniscience (insight into the internal processes of all characters and familiarity with their thoughts and feelings -> omnipresence (invisible and fictive presence in all places where characters are alone, as well as presence in several locations at the same time) -> able to see the entire course of narrative events in the past, present and future
48
Figural Narrator
- generally recedes so far, that the narrative transmissions are barely noticable - narrated world is presented from the perspective of a character who is involved in the action -> 'reflector' - gives the reader the impression of having a direct insight into the thoughts and feelings of characters - internal perspective -> doesn't have the ability to see the entire course of events (like authorial narrator)
49
Genette's Structuralist Taxonomy Narrative voice
narrative voice: Who speaks? extradiegetic: first level narrator intradiegetic: no first level narrator (diegetic: telling extra: outside intra: inside) heterodiegetic: narrator is not part of the story autodiegetic: narrator is part of the story and protagonist homodiegetic: narrator part of the story but not protagonist (hetero: different auto: self homo: same) -> two terms needed to analyse the narrative voice
50
Genette's Structuralist Taxonomy Focalization
Focalization: who sees? -> can change within a story internal: observer knows as much as character(s) external: observer knows less than character(s)
51
Short Story Theory (E.A.Poe) Narrative
unity of plot length/time totality of Tone limitation of place => unity of effect
52
How to write a Short Story?
- choose desired impression - pick a climax - consider length, tone - pick a place - determine necessary events => unity of effect
53
William Shakespeare
1564-1616 - most important/popular author
54
Types/Genres of Drama
most popular: - comedy - tragedy - history
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Comedy Drama
- happy end - mostly ends in marriage
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Tragedy Drama
- sad/bad end - mostly ends in death
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History Drama
- not really popular
58
Richard III which genre?
- complicated to put into one genre -> it is a play about history and historical characters -> but in a book it is called "The tragedy of Richard III"
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Drama to Theatre
Author <-> Dramatic text <-> Reader Theatre/Apparatus <-> Performance Text <-> Audience
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Communication Model Narrative Texts Levels of Communication
- extra-textual Level of Communication: empirical author -> empirical reader - intra-textual level of communication I + II: Internal Communication System: character communication
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How does drama compensate for the lack of mediator?
- through Dramtic Text (primary and secondary) and Theatrical Text - Plurimediality primary: what actors say on stage secondary: everything that's not spoken, helps organise the play
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Plurimediality
- usage of a lot of different medias/codes
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What is a chorus?
a character who is not part of the play is introduced to the audience
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epic tendencies Drama
character talks directly to the audience "breaks" the fourth wall between external and internal communication
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Codes and Channels of Theatre Communication
Channel: visual or acoustical Code: verbal or non-verbal Sender: Character or stage acoustical & verbal -> linguistic or paralinguistic -> Character or stage
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from text to play Drama
Theatre/Acting Company: commissions the writer Writer: writes the Foul Papers, then reviews these and makes a fair copy Foul Paper/Fair Copy: given to Master of Revels Master of Revels: censors the Performance (decides if it'll be played/printed) Theatre/Acting Company: performs the Play OR Printer: prints the play/text as Quarto or Folio
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Different Types of Speech
- Dialogical Speech - Monological Speech -> Monologue -> Soliloguy - Asides -> Monological Aside -> Aside ad spectatores -> Dialogical Aside
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Dialogical Speech
two ore more characters talking to each other
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Monological Speech
character talks for an extended amount of time, alone - Monologue: character is NOT alone on the stage, other characters are there - Soliloguy: character is alone on stage
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Asides
character breaks out (i.e. to the audience) - Monological aside - Aside ad spectatores - Dialogical aside (talks to one character and suddenly breaks out to talk to another [without the first character hearing him]) -> the character he originally talks to, doesnt hear him
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Discrepant Awareness Drama
- superior audience awareness (dramatic irony -> the reader/audience knows way more than most of the characters) - inferior audience awareness
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Figure conceptions Drama
- static vs. dynamic - one-dimensional vs. multidimensional
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static vs. dynamic Figure Conceptions (Drama)
static: character stays the same the whole time dynamiic: characters views, etc. change/develop over time
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one-dimensional vs. multidimensional Figure Conceptions (Drama)
one-dimensional: there's not much to the character multidimensional: the character is more complex
75
Characterisation (Drama)
- Figural (explicit) Character communication - Figural (implicit) character's presence - Authorial
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Figural (explicit) Character communication Characterisation (Drama)
Self Commentary - Monologue or - Dialogue Commentary by Others - Monologue -> before 1st appearance -> after 1st appearance - Dialogue -> in praesentia -> in absentia
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Figural (implicit) Character's Presence Characterisation (Drama)
- non-verbal Characterisation -> stature, facial expressions, mask, costume, setting - Verbal Characterisation -> voice, rhetoric, register (dialect, jargon,...)
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Authorial Characterisation (Drama)
- Explicit -> Paratexts, Speaking names (Names with a meanign, ex.: Severus **Snape** -> Snape - Snake Symbol of Slytherin) - Implicit -> Contrasts and Parallels in the Configuration (i.e. form of texts) --> high class characters speak in verses (Gedichtsform), low class characters speak in prose (Blockabsatz)
79
Exposition (Drama)
- transmission of information to do with the events and situations from the past that determine the dramatic present -> referential function (mostly related to the context of a message)
80
Dramatic Introduction (Drama)
- used to simulate the audience's attention and to attune it to the fictional world of the drama -> phatic function -> example: a chorus (not part of the play) introduces the fictional world
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Isolated vs. Integrated Exposition/Dramatic Introduction
isolated: not part of the play/Characters integrated: a character of the play
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monological vs. dialogical exposition/dramatic introduction?
monological: character(person talks alone dialogical: character/person talks with someone else
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Classical 5-Act Structure Drama G. Freytag
1. Act: Exposition 2. Act: Rising Action (complication) 3. Act: Climax and peripeteia (reversal) 4. Act: Falling Action (unravelling/untying) 5. Act: catastrophe or denoument
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Dramatic Conventions and concepts Aristotle's Unities
- Unity of Action - Unity of Time - Unity of Place => not all plays stick to these unities
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Unity of Action Aristotle
- every part is important to the outcome and effect of the play
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Unity of Time Aristotle
- a play can't cover more than a day
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Unity of Place Aristotle
- idealy only one place -> you can't switch between several places during a play
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Aristotle's Conception of Tragedy
- usually has a tragic hero -> a man whose character is generally good, whose misfortune is brought about not by vice or depravity but by some error
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Classical Conception according to Aristoteles
- hubris - hamartia - peripeteia - anagnorisis - catharis
90
hubris Classical Conception Aristoteles
- refers to the tragic hero at the beginning of the play -> over-confident
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hamartia Classical Conception Aristoteles
- translates to: tragic flaws -> hero has some 'mistakes'
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peripeteia Classical Conception Aristoteles
- at some point of the play there's a reversal of fortune
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anagnorisis Classical Conception Aristoteles
- change from ignorance to knowledge of own downfall
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catharis Classical Conception Aristoteles
- when reading a Tragedy we experience pity and fear -> through thi: purification of these emotions