KEY THEME: FORM

Question 1

Caroline Levine’s definition of Form (in Forms)

Answer 1

‘an arrangement of elements-an ordering, patterning, or shaping’

Question 2

Caroline Levine’s definition of Form (in Forms)

Answer 2

‘an arrangement of elements-an ordering, patterning, or shaping’

Question 3

1811-1855 Simon Eliot

Answer 3

chart displays increase in price of fiction books; colossal change in ratio as well as huge increase in newspapers and magazine titles

Question 4

change in situation of fiction in relation to other books on sale in marketplace

Answer 4

1814-46: fiction only 16.2 per cent of books on sale; by 1890s mix of subjects very different, fiction towers over all other forms.

Question 5

Although books were an important feature of the period, the real success story (in terms of sales, readership and profit) were cheap newspapers and magazines.

Answer 5

3-decker novels dominate, but always in competition with other forms like penny dreadfuls and magazines e.g. The Cornhill Magazine

Question 6

fun fact

Answer 6

DICKENS NEVER READ THE BRONTES !!!

Question 7

What is a novel OED

Answer 7

(n) 4b: A long fictional prose narrative, usually filling one or more volumes and typically representing character and action with some degree of realism and complexity… frequently contrasted with a romance

Question 8

Mikhail Bakhtin ‘Discourse in the Novel’

Answer 8

‘the style of a novel is to be found in the combinations of its styles ; ‘The novel can be defined as a diversity of social speech types (sometimes even diversity of languages) and a diversity of individual voices, artistically organized’

Question 9

what matters socio-politically is…

Answer 9

the internal stratification of those speech types/languages/voices

Question 10

KEY POINT BAKHTIN

Answer 10

the novel can live comfortably with incoherence

Question 11

split between critics who want to see plot as the mechanism for organisation….

Answer 11

and those who see the narrative as something which that sort of organisation fails for

Question 12

Cleanth Brooks, Reading for the Plot: Novelists try to impose structural coherence

Answer 12

‘Plot is the principle of interconnectedness and intention which we cannot do without in moving through the discreet elements, incidents, episodes, actions-of a narrative: even such loosely articulated forms as the picaresque novel display devices of interconnectedness, structural repetitions that allow us to construct a whole’

Question 13

Forster, Aspects of the Novel 1927 (hostile description of mechanistic style of novelists)

Answer 13

‘The plot of the novel is its logical intellectual aspect…[the novelist] is competent, poised above his work, throwing a beam of light here, popping on a cap of invisibility there’

Question 14

Forster ‘in the losing battle

Answer 14

that plot fights with the characters, it often takes a cowardly revenge’

Question 15

Macherey’s analysis of Verne in ‘Jules Verne: The Faulty Narrative’ in Macherey’s Theory of Narrative Production

Answer 15

‘Macherey’s analysis of Jules Verne suggested that a text could be defined by its ‘absences’ or silences’- Freud;’the hysteric text’

Question 16

Form is always coercive…

Answer 16

what is the balance between plurality and incoherence?

Question 17

Robert Scholes ‘Afterthoughts on Narrative II’ in On Narrative

Answer 17

‘the function of anti-narrative is to problematize the entire process of narration and interpretation for us…. Traditional narrative structures are perceived as part of a system of psychosocial dependencies that inhabit both individual growth and significant social change’

Question 18

Robert Scholes - can we do without narrative form?

Answer 18

‘it seems to me likely that [narrative processes] are too deeply rooted in human physical and mental processes to be dispensed with by members of this species. We can and should be critical of narrative structuration, but I doubt if even the most devoted practitioner of anti-narrativity can do without it.’

Question 19

Beginning of Jane eyre

Answer 19

1. scene of reading draws you into subjective protective posture
2. pathetic fallacy; mirror
3. perversity given early on

Question 20

Beginning of WH

Answer 20

1. unusual framing narrative device (ill-equipped to tell story, comes with romantic suppositions and self-aggrandising voice within frames; no discernible narrator, no date = emotionally elusive _+ pseudonym, element of wanting you to be in the wrong place.
2. voice is wrong; ‘a capital fellow!’

Question 21

Beginning of Middlemarch

Answer 21

1. no ‘I’; generality is pitched, anonymity and openness
2. pastoral - child toddling in countryside; sentimental; impulse towards heroic lifel
3. deliberately sophisticatedly naive

Question 22

poem as a living, breathing organism; as shown by

Answer 22

Whitman’s revising LOG even on his death-bed, ‘Who touches this book touches a man’ ; similar to Tennyson’s constant revising poetry

Question 23

Was she beautiful or not beautiful? and what was the secret of form or
expression which gave the dynamic quality to her glance? Was the good or
the evil genius dominant in those beams? Probably the evil; else why was
the effect that of unrest rather than of undisturbed charm? Why was the
wish to look again felt as coercion and not as a longing in which the
whole being consents?’

Answer 23

1. effort to understand what beauty is, how refractive that beauty is - not just aesthetic; what is that dynamic quality that does/doesn’t appeal; uncertainty about what you’re watching puts you in same position as Daniel Deronda
2. Mismatch between her external beauty and her lack of moral development and adult seriousness;

Question 24

Professor Donald McKenzie

Answer 24

would rip off parts of books and asking ‘is this still a book’ - where does a book begin? preface?

Question 25

What is a preface

Answer 25

a type of holistic statement that tries to shape the experience of the style of the book

Question 26

1811-1855 Simon Eliot

Answer 26

chart displays increase in price of fiction books; colossal change in ratio as well as huge increase in newspapers and magazine titles

Question 27

change in situation of fiction in relation to other books on sale in marketplace

Answer 27

1814-46: fiction only 16.2 per cent of books on sale; by 1890s mix of subjects very different, fiction towers over all other forms.

Question 28

Although books were an important feature of the period, the real success story (in terms of sales, readership and profit) were cheap newspapers and magazines.

Answer 28

3-decker novels dominate, but always in competition with other forms like penny dreadfuls and magazines e.g. The Cornhill Magazine

Question 29

What is a novel OED

Answer 29

(n) 4b: A long fictional prose narrative, usually filling one or more volumes and typically representing character and action with some degree of realism and complexity… frequently contrasted with a romance

Question 30

Mikhail Bakhtin ‘Discourse in the Novel’

Answer 30

‘the style of a novel is to be found in the combinations of its styles ; ‘The novel can be defined as a diversity of social speech types (sometimes even diversity of languages) and a diversity of individual voices, artistically organized’

Question 31

what matters socio-politically is…

Answer 31

the internal stratification of those speech types/languages/voices

Question 32

KEY POINT BAKHTIN

Answer 32

the novel can live comfortably with incoherence

Question 33

split between critics who want to see plot as the mechanism for organisation….

Answer 33

and those who see the narrative as something which that sort of organisation fails for

Question 34

Cleanth Brooks, Reading for the Plot: Novelists try to impose structural coherence

Answer 34

‘Plot is the principle of interconnectedness and intention which we cannot do without in moving through the discreet elements, incidents, episodes, actions-of a narrative: even such loosely articulated forms as the picaresque novel display devices of interconnectedness, structural repetitions that allow us to construct a whole’

Question 35

Forster, Aspects of the Novel 1927 (hostile description of mechanistic style of novelists)

Answer 35

‘The plot of the novel is its logical intellectual aspect…[the novelist] is competent, poised above his work, throwing a beam of light here, popping on a cap of invisibility there’

Question 36

Forster ‘in the losing battle

Answer 36

that plot fights with the characters, it often takes a cowardly revenge’

Question 37

Macherey’s analysis of Verne in ‘Jules Verne: The Faulty Narrative’ in Macherey’s Theory of Narrative Production

Answer 37

‘Macherey’s analysis of Jules Verne suggested that a text could be defined by its ‘absences’ or silences’- Freud;’the hysteric text’

Question 38

Form is always coercive…

Answer 38

what is the balance between plurality and incoherence?

Question 39

Robert Scholes ‘Afterthoughts on Narrative II’ in On Narrative

Answer 39

‘the function of anti-narrative is to problematize the entire process of narration and interpretation for us…. Traditional narrative structures are perceived as part of a system of psychosocial dependencies that inhabit both individual growth and significant social change’

Question 40

Robert Scholes - can we do without narrative form?

Answer 40

‘it seems to me likely that [narrative processes] are too deeply rooted in human physical and mental processes to be dispensed with by members of this species. We can and should be critical of narrative structuration, but I doubt if even the most devoted practitioner of anti-narrativity can do without it.’

Question 41

Beginning of WH

Answer 41

1. unusual framing narrative device (ill-equipped to tell story, comes with romantic suppositions and self-aggrandising voice within frames; no discernible narrator, no date = emotionally elusive _+ pseudonym, element of wanting you to be in the wrong place.
2. voice is wrong; ‘a capital fellow!’

Question 42

Professor Donald McKenzie

Answer 42

would rip off parts of books and asking ‘is this still a book’ - where does a book begin? preface?

Question 43

What is a preface

Answer 43

a type of holistic statement that tries to shape the experience of the style of the book

Question 44

the aesthetic form of the poem is…

Answer 44

the conduit of meaning

Question 45

Ralph Waldo Emerson ‘The Poet’

Answer 45

1844: ‘For it is not metres, but a metre-making argument, that makes a poem - a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature witha . new thing’

Question 46

poem as a living, breathing organism; as shown by

Answer 46

Whitman’s revising LOG even on his death-bed, ‘Who touches this book touches a man’ ; similar to Tennyson’s constant revising peotry

Question 47

dramatic monologue

Answer 47

poem in the form of a speech or narrative by an imagined person, in which the speaker inadvertently reveals aspects of their character while describing a particular series of events