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Literary Studies > Definitions > Flashcards

Definitions Flashcards

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
  • conative
  • phatic
  • poetic
  • metalingual
  • referential
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3
Q

Roman Jakobsen’s Communication Model

A

> a communicative situation can be analyzed into: -> six functions of language
can be applied to literature: Literature IS communication
addresser and addressee need to share a code (precondition)

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4
Q

emotive

A

(addresser) - state something “he makes me so nervous.”

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5
Q

conative

A

(addressee) - motivate to do something “Leave me alone!”

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6
Q

phatic

A

(medium of contact) - establishing communication “Hello, can you hear me?”

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7
Q

poetic

A

(message) - focus on the message “Fridays For Future”

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8
Q

metalingual

A

(code) - language can be (non-) verbal expressive “Do you know what I mean?”

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9
Q

referential

A

(context/subject) - “The famous Harry Potter book series consists of seven books in total.”

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10
Q

Literal vs. figurative

A

literal: actual example

figurative: metaphorical example to show your meaning

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11
Q

Denotative vs. Connotative

A
  • Denotation: actual meaning of the word
  • Connotation: the association made with the word

Example:
- Denotation: snake (meaning of the word)
- Connotation: devil/poisonous

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12
Q

Intertextuality

A

interconnectiveness of texts
- complex

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13
Q

Ferdinand de Saussure: semiotics (study of the sign)

A

> signifier (sketch of a tree) oben im Kreis
orthographic version of tree = signified

-> connection = arbitrary conventionally

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14
Q

Discourse vs. Story

A

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

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15
Q

Taxonomy

A

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

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16
Q

Genre

A

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

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17
Q

Paradigmatic/Syntagmatic
(Dichotomy)

A

Paradigmatic: exchangeability of (linguistic) elements
Syntagmatic: compability of elements

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18
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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19
Q

Structural elements (Poetry)

A

Stanza, verse,…

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20
Q

Stylistic devices (Poetry)

A
  • phonological devices (rhyme, metre, alliteration,…)
  • syntactic devices (parallelism,…)
  • morphological devices (anaphora,…)
  • semantic devices (simile, metaphor,…)
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21
Q

Phonological figures

A
  • Alliteration: following words starting with the same sound/letter
  • Rhyme: a consonance between all phonemes following the last stressed vowel
  • Sull/perfect/true Rhyme: exact consonance between of phonemes in the rhyming syllables
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22
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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23
Q

Stanzas Poetry

A

Couplets (2 lines)
Tercets
Quatrain
Quintet
Sestet
Septet
Octave (8 lines)

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24
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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25
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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26
Q

Semantic figures

A

Most significant:
- metaphor
- simile
- metonymy
- synechdoche

> all types of metaphors but specialized versions

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27
Q

Metaphor

A

> something stands for something else
“Eye of heaven” = the sun

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28
Q

Metonymy

A

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

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29
Q

Synechdoche

A

> a metonymy but a part stands for the whole
- sail = ship
- motor = car
- hands = workers

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30
Q

Simile

A

> comparison that is shown by the use of “like”, “as”,…
“Thou art like a toad, ugly and venomous.”

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31
Q

Metre

A

> while reading a poem you look at the phonological syllables - they can either be stressed (emphasized) or unstressed = group them into feet

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32
Q

Important metrical feet

A
  • Trochee: stressed - unstressed (e.g. metre, double)
  • Iamb: unstressed - stressed (e.g. destroy, compare)
  • dactyl: stressed - unstressed - unstressed (e.g. pleasantly, literature)
  • anapeast: unstressed - unstressed - stressed (e.g. seventeen, understand)
  • spondee: stressed - stressed (e.g. football, heartbreak)
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34
Q

Communication model (poetry)

A

Intra textual level: Characters & story (fictive speaker, lyric persona) > subject matter of speech > fictive addressee

Extra textual level: Narrative transmission (real-author; real-reader)

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35
Q

Lyric “Thou”

A

Fictive addressee in the text (not the real reader)

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36
Q

Lyric persona/ Lyrical “I”

A

Fictive speaker in the text (not the real author)

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37
Q

Explicit vs. Implicit (poetry)

A
  • Explicit: direct, fully stated, clearly perceptible, feelings and thoughts > ouvert
  • Implicit: hidden, indirect, does not appear as an individualized lyric persona > covert
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38
Q

English vs. Italian sonnet

A

English: Shakespeare
- 3 quatrains / 1 couplet
- abab cdcd gg
- Volta before climax in couplet

Italian: Petrach
- 1 octave / 1 sestet
- abba abba cdccdc
- colta before octave

> two typical features of a sonnet:
- 14 lines
- subject: love, beauty

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39
Q

Volta (poetry)

A

Turn of thought within a sonnet/poem

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40
Q

Plot vs. story (narrative)

A
  • Plot: sequence of events + cause (causality)
    > “the king died and then the queen died of grief”
  • Story: sequence of events (chronology)
    > “the king died”
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41
Q

Events (narrative)

A
  • smallest unit of story/ plot
  • are actions that change a given situation in the story
  • people’s action forward brings about change
  • not always equally important
42
Q

Story time vs. discourse time (narrative)

A
  • 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)
43
Q

Time Analysis (narrative)

A

3 aspects: duration, order, frequency

44
Q

Time analysis: duration (narrative)

A

Story time = st / discourse time = dt

  • summary: dt < st
  • scene: dt = st
  • stretch: dt > st
  • ellipsis: no dt vs. only st
  • pause: only dt vs. no st
45
Q

Time analysis: order (narrative)

A

Chronological vs. Anachronological
- flash back
- flash forward

46
Q

Time analysis: frequency (narrative)

A
  • singulative: event happens once
  • repetitive: event happens once, but is referred to various times
  • herative: event happens multiple times
47
Q

Point of view (narrative)

A
  • external vs. internal
  • narrator vs. character
48
Q

Modes of Representation (narrative)

A
  • showing (mimesis): little or no narrational mediation, overtness or presence (no narrator)
  • telling (diegesis): narrator in overt control of action presentation
49
Q

Representation of events (narrative)

A

Mimetic
- direct discourse
- free indirect discourse
- indirect discourse
- report/summary
- comment

Diegetic

50
Q

Representation of consciousness (narrative)

A

‘purely’ mimetic
- free direct discourse
- direct discourse
- free indirect discourse
- indirect discourse
- diegetic summary

‘purely’ diegetic

51
Q

Examples:
direct discourse
indirect discourse
free indirect discourse

A
  • direct: “she said, ‘I love Literary Studies’ ”
  • indirect: she said that she loved literary studies
  • free indirect: she loved literary studies
52
Q

Narrative Situation: Stanzel (narrative)

A
  • 1st person
  • authorial
  • figural
53
Q

1st person Narrator

A
  • involved in the story
  • “narrating I” / “experiencing I”
  • involved as protagonist (I-as-protagonist) or peripheral character (I-as-witness)
  • narrative situation: limited
    > no sight into the thoughts/feelings of the other characters
54
Q

Authorial Narrator

A
  • situated outside the world of characters (god-like view)
  • present themselves as fictive individuals (by comments, moral judgements, etc. on events)
  • typical features: flashforwards, generalizations
  • 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
55
Q

Figural Narrator

A
  • generally recedes so far, that the narrative transmissions are barely noticeable
  • 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)
56
Q

Genette’s Structuralist Taxonomy Narrative voice

A
  • narrative voice: Who speaks?
  • extradiegetic: first level narrator
  • intradiegetic: no first level narrator
    (diegtic: telling / extra: outside / intra: inside)
  • heterodiegetic: narrator is not part of the story
  • autodiegetic: narrator is part of the story and protagonist
  • homodiegetic: narrator is part of the story but not protagonist
    (hetero: different / auto: self / homo: same)

> two terms needed to analyze the narrative voice

57
Q

Genette’s Structuralist Taxonomy Focalization

A
  • Focalizer = subject of the verbs of perception, thinking, feeling, remembering
  • Focalization: who sees? > can change within a story
    > internal: narrative events presented from a character’s perspective (observer knows as much as character(s))
  • fixed: whole duration follows one character
  • variable: switches from character to character
  • multiple: one & same story is told from multiple perspectives

> external: narrative events presented from narrator‘s perspective (observer knows less than character(s))

58
Q

Short Story Theory (E.A.Poe) Narrative

A
  • unity of plot
  • length/time
  • totality of tone
  • limitation of place

> unity of effect

59
Q

How to write a short story?

A
  • choose desired impression
  • pick a climax
  • consider length/tone
  • pick a place
  • determine necessary events

> unity of effect

60
Q

William Shakespeare

A

1564 - 1616
- most important/popular author

61
Q

Types/Genres of Drama

A

most popular:
- comedy
- tragedy
- history

62
Q

Comedy (Drama)

A
  • happy end
  • mostly ends in marriage
63
Q

Tragedy (Drama)

A
  • sad/bad end
  • mostly ends in death
64
Q

History (Drama)

A
  • not really popular
65
Q

Drama to Theatre

A
  • Author < > Dramatic text < > Reader
  • Theatre/Apparatus < > Performance text < > audience
66
Q

Communication Model Narrative texts
- Levels of Communication

A
  • extra-textual level of communication: empirical author > empirical reader
  • intra-textual level of communication I+II: internal communication system: character communication
67
Q

How does drama compensate for the lack of mediator?

A
  • through dramatic text (primary and secondary) and theatrical text
  • plurimediality

> primary: what actors say on stage
secondary: everything that’s not spoken, helps organize the play

68
Q

Plurimediality

A
  • usage of a lot of different medias/codes
69
Q

What is a chorus?

A

> a character who is not part of the play is introduced to the audience

70
Q

epic tendencies (Drama)

A

> character talks directly to the audience “breaks” the fourth wall between external and internal communication

71
Q

Codes and Channels of Theatre Communication

A
  • Channel: visual or acoustical
  • Code: verbal or non-verbal
  • Sender: Character or stage
  • acoustical & verbal > linguistic or paralinguistic > character or stage
72
Q

from text to play (Drama)

A
  • 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
73
Q

Different Types of Speech

A
  • Dialogical Speech
  • Monological Speech
    > Monologue
    > Soliloquy
  • Asides
    > Monological Aside
    > Aside ad spectators
    > dialogical aside
74
Q

Dialogical Speech

A

> two or more characters talking to each other

75
Q

Monological Speech

A
  • character talks for an extended amount of time, alone
    > Monologue: character is NOT alone on the stage, other characters are there
    > Soliloquy: character is alone on stage
76
Q

Asides

A
  • character breaks out (i.e. to the audience)
    > Monological aside
    > aside ad spectators (talks to one character
    > 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, doesn’t hear him

77
Q

Discrepant Awareness (Drama)

A
  • superior audience awareness (dramatic irony > the reader/audience knows way more than most of the characters)
  • inferior audience awareness > the reader/audience knows less than one or more of the characters
78
Q

Figure conceptions (Drama)

A
  • static vs. dynamic
  • one-dimensional vs. multidimensional
79
Q

static vs. dynamic
Figure Conceptions (Drama)

A
  • static: character stays the same the whole time
  • dynamic: characters views, etc. change/develop over time
80
Q

one-dimensional vs. multidimensional
Figure Conceptions (Drama)

A
  • one-dimensional: there’s not much to the character
  • multidimensional: the character is more complex
81
Q

Characterisation (Drama)

A
  • Figural (explicit) > Character communication
  • Figural (implicit) > character’s presence
  • Authorial
82
Q

Figural (explicit) Character communication Characterisation (Drama)

A
  • Self-Commentary
    > Monologue or
    > Dialogue
  • Commentary by others
    > Monologue (before 1st appearance/after 1st appearance)
    > Dialogue (in presentia/in absentia)
83
Q

Figural (implicit) Character’s Presence Characterisation (Drama)

A
  • non-verbal Characterisation
    > stature, facial expressions, mask, costume, setting
  • verbal characterisation
    > voice, rhetoric, register (dialect, jargon,…)
84
Q

Authorial Characterisation (Drama)

A
  • Explicit
    > Paratexts, speaking names (Names with a meaning, 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)
85
Q

Exposition (Drama)

A
  • 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)
86
Q

Dramatic Introduction (Drama)

A
  • 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
87
Q

Isolated vs. Integrated Exposition/Dramatic Introduction

A
  • isolated: not part of the play/characters
  • integrated: a character of the play
88
Q

monological vs. dialogical
exposition/dramatic introduction?

A
  • monological: character (person talks alone)
  • dialogical: character/person talks with someone else
89
Q

Classical 5-Act Structure Drama
G. Freytag

A
  1. Act: Exposition
  2. Act: Rising Action (complication)
  3. Act: Climax and peripeteia (reversal)
  4. Act: Falling Action (unravelling/untyping)
  5. Act: catastrophe or denouement
90
Q

Dramatic Conventions and concepts
Aristotele’s Unities

A
  • Unity of Action
  • Unity of Time
  • Unity of Place

> not all plays stick to these unities

91
Q

Unity of Action
(Aristotele)

A

> every part is important to the outcome and effect of the play

92
Q

Unity of Time
(Aristotele)

A

> a play can’t cover more than a day

93
Q

Unity of Place
(Aristotele)

A
  • ideally only one place
    > you can’t switch between several places during a play
94
Q

Aristotele’s Conception of Tragedy

A
  • usually has a tragic hero
    > a man whose misfortune is brought about not by vice or depravity but by some error
95
Q

Classical Conception according to Aristoteles

A
  • hubris
  • hamartia
  • peripeteia
  • anagnorisis
  • catharis
96
Q

hubris
(Classical Conception Aristotele’s)

A
  • refers to the tragic hero at the beginning of the play
    > over - confident
97
Q

hamartia
(Classical Conception Aristotele’s)

A
  • translates to: tragic flaws
    > hero has some ‘mistakes’
98
Q

peripeteia
(Classical Conception Aristotele’s)

A
  • at some point of the play there’s a reversal of fortune
99
Q

anagnorisis
(Classical Conception Aristotele’s)

A
  • change from ignorance to knowledge of own downfall
100
Q

catharis
(Classical Conception Aristotele’s)

A
  • when reading a Tragedy we experience pity and fear
    > trough thi: purification of these emotions
101
Q

Genette and Stanzel -narrative Situation

A
  • First-person narrative situation:
    > homodiegetic narrator = I-as-witness
    > autodiegetic narrator = I-as-protagonist
  • Authorial narrative situation
    > overt heterodiegetic narrator
  • Figural narrative situation
    > covert heterodiegetic narrator
102
Q

Intratextual Levels of Communication

A
  • Frame narrative
  • Embedded narrative (story within the story)
  • Extradiegetic narrator
    > narrator of first-degree narrative/frame narrative
  • Intradiegetic narrator
    > narrator of second-degree narrative/embedded narrative

Literary Studies (6 decks)

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