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LIT THEORY AND CRITICISM Flashcards

1
Q

The Republic- 10 books

A

Plato

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2
Q

The Symposium

A

Plato

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3
Q

Nichomachean Ethics

A

Aristotle

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4
Q

Teacher of Alexander the great

A

Aristotle

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5
Q

Poetry as a medium of imitation

A

Aristotle

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6
Q

Aristotle’s son

A

Nichomacus

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7
Q

the tragedy is superior to history

A

Aristotle

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8
Q

Father of tragedy

A

Aeschylus

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9
Q

Father of history

A

Herodotus

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10
Q

Father of comedy

A

Aristophanes

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11
Q

Ajax, Antigone, Oedipus Rex, Electra Philoctetes

A

Sophocles

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12
Q

Medea, The Bacchae, Electra

A

Euripides

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13
Q

Lysistrata (Peleponessian War)

A

Arisophanes

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14
Q

Prometheus Bound, The Oresteian Trilogy

A

Aeschylus

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15
Q

1st Graeco Roman Critic

A

Horace

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16
Q

Ars Poetica (Epistles to the Pisos)

A

Horace

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17
Q

in medias red origin

A

Ars Poetica

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18
Q

Odes, Epsitels, Epodes (couplet- long line followed by short line)

A

Horace

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19
Q

On the Sublime

A

Longinus

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20
Q

who calles longinus as the first romantic critic

A

Scott James

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21
Q

Parameters of true sublimity

A

Great Thought, Strong Passion, usage of fogure of speech, use of noble diction

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22
Q

Amores

A

Ovid

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23
Q

Metamorphoses (epic poem)

A

Ovid

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24
Q

Aeneid (dactylic hexameter)

A

Virgil

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25
Q

Aenes in Aeneid is modelled on

A

King Augustus

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26
Q

Eclogues (bucolics)

A

poems on pastoral subjects

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27
Q

Georgics 4 books

A

Virgil

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28
Q

An Apology for Poetry (or The Defence of Poesy) is an attack on Philip Sidney

A

Stephen Gosson’s The School of Abuse

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29
Q

who considers poetry to be superior to history

A

Philip Sidney

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30
Q

Essay of Dramatick Poesie

A

Dryden

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31
Q

Sir Robert Howard

A

[Crites]

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32
Q

Lord Buckhurst or Charles Sackville

A

[Eugenius]

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33
Q

Sir Charles Sedley

A

[Lisedeius]

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34
Q

Dryden

A

[neander]

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35
Q

Classical drama upheld by

A

Crites

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36
Q

modern drama championed by

A

Eugenius

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37
Q

French drama considered superior by

A

Lisideius

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38
Q

Modern English drama supported by

A

Neander

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39
Q

Neander calls Shakespeare

A

the greatest soul, ancient or modern

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40
Q

Primary Imagination

A

It is the faculty by which we perceive the world around us. It is merely the power of receiving impressions of the external through our senses.
-Coleridge describes primary imagination as the “mysterious power” which can extract “hidden ideas and meanings” from objective data.

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41
Q

Secondary Imagination

A

The primary imagination is universal and possessed by all. The secondary imagination makes artistic creation possible. It requires an effort of the will and conscious effort.
-It is ‘ensemplastic’ , and it ‘dissolves, diffuses and dissipates, in order to create.’ The secondary imagination is at the root of all poetic activity.

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42
Q

Fancy

A

fancy, which is common possession of man, is not creative. It is a mechanical process which receives the elementary images which come to it ready made and without altering these
-Coleridge has called fancy the ‘aggregative and associative power’.

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43
Q

First American feminist text- Women in the Nineteenth Century

A

Margaret Fuller (Transcendentalism)

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44
Q

The great Lawsuit- Abolitionist Movement

A

Margaret Fuller

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45
Q

A Room of One’s Own

A

Virginia Woolf

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46
Q

Three Guineas

A

Virginia Woolf

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47
Q

Androgonous creative mind

A

Virginia Woolf- explored in A Room of One’s Own

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48
Q

Orlando

A

Virginia Woolf

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49
Q

The Second Sex

A

Simone De Beauvoir

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50
Q

Who differentiated between sex and gender

A

Simone De Beauvoir

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51
Q

Gender Trouble

A

Judith Butler

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52
Q

Gender Performance

A

Judith Butler

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53
Q

A Literature of their Own

A

Elaine Showalter

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54
Q

The Female Malady

A

Elaine Showalter

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55
Q

Three phases-
Feminine Phase
Feminist Phase
Female Phase

A

Feminine- imitates male authors
Feminist- women rebels against patriarchy
Female- woman writer’s search for her own voice

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56
Q

The Madwoman in the Attic

A

Sandra Gilbert and Susan Gubar

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57
Q

who argues women’s texts are palimpsests (they mask secrets)

A

Sandra Gilbert and Susan Gubar

58
Q

schizophrenia of authorship

A

Sandra Gilbert and Susan Gubar

59
Q

No Man’s Land

A

Sandra Gilbert and Susan Gubar

60
Q

anxiety of authorship, affiliation complex

A

Sandra Gilbert and Susan Gubar

61
Q

Who all came up with the notion of women’s writing

A

Luce Irigaray, Julia Kristeva, Helene Cixous

62
Q

Ecriture Feminine

A

Helene Cixous

63
Q

Gynographic writing

A

Maggie Humm

64
Q

The Laugh of the Medusa

A

Helene Cixous

65
Q

Stigmata

A

Helene Cixous

66
Q

The Newly Born Woman

A

Helene Cixous

67
Q

The Book of Promethea

A

Helene Cixous

68
Q

Speculum of other Women

A

Luce Irigaray

69
Q

This Sex Which Is Not One

A

Luce Irigaray

70
Q

Sexual Politics

A

Kate Millett

71
Q

The Dialectic of Sex

A

Shulamith Firestone

72
Q

This Sex which is not One

A

Luce Irigaray

73
Q

Affective and intentional Fallacy

A

Wimsatt and Beardsley

74
Q

7 types of ambiguities

A

William Empson

75
Q

The Well Wrought Urn

A

Cleanth Brooks

76
Q

The Verbal Icon (Fallacies)

A

WK Wimsatt

77
Q

Practical Criticism

A

IA Richards

78
Q

Principle of Literary Criticism

A

IA Richards

79
Q

The Great Tradition

A

FR Leavis

80
Q

Term “New Criticism” coined by

A

Joel E Spingram

81
Q

Father of New Criticism

A

IA Richards

82
Q

The New Criticism

A

John Crowe Ransom

83
Q

Scrutiny Journal

A

L. C. Knights and F. R. Leavis

84
Q

The Meaning of Meaning

A

IA Richards and CK Ogden

85
Q

Foundations of Aesthetics

A

IA Richards and CK Ogden

86
Q

IA Richards Parameters

A

Sense, Feeling, Tone, Intention

87
Q

Pseudo Statements, Feed Forward

A

IA Richards

88
Q

Semantic Triangle

A

Reference Referent Symbol

89
Q

Heresy of Paraphrase

A

Cleanth Brooks

90
Q

Founder of Southern Review

A

Cleanth Brooks and Robert Penn Warren

91
Q

Instrumentalist Theory

A

John Dewey

92
Q

Extention, Intention, Tension

A

Allen Tate

93
Q

Editor of Hounds L. Horn

A

RP Blackmur

94
Q

Autotelic Text, theory of impersonality, objective correlative

A

TS Eliot

95
Q

Objective Correlative (came from Hamlet and his Problems)

A

TS Eliot

96
Q

New Historicism coined by

A

Stephen Jay Greenblatt

97
Q

Renaissance Self Fashioning: From More to Shakespeare

A

Stephen Jay Greenblatt

98
Q

Invisible Bullets

A

Stephen Jay Greenblatt

99
Q

Marvellous Possessions

A

Stephen Jay Greenblatt

100
Q

The Tragedy of State: Study in Jacobean Drama

A

JW Lever

101
Q

The New Historicism

A

Harold Aram Veeser

102
Q

Old Historicism

A

EMW Tillyard

103
Q

The Elizabethan World Picture

A

EMW Tillyard

104
Q

Practicing New Historicism

A

Catherine Gallagher

105
Q

Textual tracts in a culture

A

Greenblatt and Gallagher

106
Q

Cultural Poetics term

A

Greenblatt

107
Q

Shaping Fantasies

A

Louis Montrose

108
Q

New Left Review Journal

A

Raymond Williams

109
Q

Residual Culture concept given by

A

Raymond Williams

110
Q

Culture Industry coined by

A

Theodor Adorno and Max Horkheimer

111
Q

Who stated workman as the author

A

Pierre Macherey

112
Q

Habitus, symbolic capital, cultural capital

A

Pierre Bourdieu

113
Q

Cultural Logic of Late Capitalism

A

Frederic Jameson

114
Q

Term hegemony given by

A

Antonio Gramsci

115
Q

Interpellation Theory

A

Louis Althusser

116
Q

Who established a tradition of Marxist cultural analysis

A

Raymond Williams

117
Q

Father of cultural Studies

A

Stuart Hall

118
Q

Raymond Williams, Stuart Hall, Ruchard Hoggart, David Morley, Tony Bennett, Paul du Gay

A

Cultural Studies

119
Q

Theory of articulation

A

Stuart Hall and Paul du Gay

120
Q

Langue

A

set of rules which govern a sentence

121
Q

Parole

A

everyday speech

122
Q

Structural Anthropology developed by

A

Claude Levi Strauss

123
Q

Morpholopgy of the Folktale, The Russian Folktale

A

Vladimir Propp

124
Q

defamiliarization

A

Victor Shkolvsky

125
Q

Father of pragmatism

A

CS Pierce

126
Q

Dialogism, Heteroglossia, Chronotope, Carnivalesque

A

Mikhial Bakhtin

127
Q

Problems of Dostoevsky’s Poetics

A

Mikhail Bakhtin

128
Q

Rabelais and his World

A

Mikhail Bakhtin

129
Q

A Lover’s Discourse, Camera Lucida, Death of the Author

A

Roland Barthes

130
Q

Paratext coined by

A

Gerard Genette

131
Q

Narrative Discourse

A

Gerard Genette

132
Q

Spectres of Marx, Margins of Philosophy, The gift of Death

A

Jacques Derrida

133
Q

Phonocentricism

A

Privileging speech over writing

134
Q

Logocentricism, also called the metaphysics of presence

derrida rejects this

A

Logic of the supplement

135
Q

Who argued for rhetorical reading

A

Paul De Man

136
Q

The Deconstructive Angel

A

MH Abrams

137
Q

The Critic as Host

A

J Hillis Miller

138
Q

The System of Objects, The Consumer Society, Symbolic Exchange and Death

A

Jean Baudrillard

139
Q

Anti Oedipus, A Thousand Plateaus, Nietzsche and Philosophy

A

Gilles Deleuze (postmodern)

140
Q

The postmodern Condition, The Differend:Phrases in Dispute, Libidal Economy, The Inhuman

A

Lyotard

141
Q

who said narrative is the quintessential form of customary knowledge

A

Lyotard

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