Lectures13

Expressive - Diegetic

Pragmatic – Pleasure, learning

Mimetic - Retelling/recreating worlds

Poetic – aesthetic object, art for art sake

defamiliarization

storytelling, retelling

nurturing emotions

pure academic/practical reasons

Interpretation/Reading tries to understand what a text means in terms of its content and ideas (polyvalence)

Analysis tries to describe and explain how a text creates meaning by its structure and composition(type, structure, language)

Analysiscoded, classified, indexed (Internal)- Interpretationpolyvalent, multiple (External)

Hermeneutics – the art of interpretation

A whole is connected to its parts

Ballad: Poetic form with a strong meter suitable for singing. Generally a story is told.

Epic: Poetic form, semi-lyrical, which tell a story (usually of conquest, victory, and triumph).

Comedy: Regular Drama; Tragedy: Tragic End Ode: Poetic form with a sense of praise (eulogy) and

wonder. Fable: Human drama transported into non-human world

(animals, etc.). There is a moral lesson to be learned from it. Fairytale: Human drama transported into non-human world

where there is a fantasy to be fulfilled. Parable: a full story told in a short amount of space. Sonnet: Poetic form (14 lines) with a problem and

resolution at the end. Short Story: an Impression, image, mood conveyed

without fully developed characters or plot. High level of narrator intervention.

Renaissance and Reformation Literature:1510-1600Features Theology, philosophy, science. Example: Christopher Marlowe‘s The Jew of Malta (1563)

Revolution and Restoration Literature:1600-1690Features: after Interregnum, praising monarchy. Example: Edmund Spencer's Faerie Queene (1590-96)

Eighteenth-Century Literature: 1700-1780Features: Enlightenment, Reason, exploration. Example: Daniel Dafoe‘s Robinson Crusoe (1719)

Literature of the Romantic Period: 1780-1830Features: Return to nature, supernatural, aesthetics, sublime. Example: William Wordsworth‘s The Prelude (1798-1850)

Sanders, Andrew (1996): The Short Oxford History of English Literature. Oxford: Oxford UP.

High Victorian Literature: 1830-1880Features: fate, luck, struggles of life. Example: Charles Dickens‘ Great Expectations (1861)

Late Victorian and Edwardian Literature: 1880-1920Features: struggle, hardship, poverty. Example: Joseph Conrad‘s Heart of Darkness (1889)

Literature of Modernism and its Alternatives: 1920-1945Features: individuality, human struggles, women‘s struggle. Example: D.H. Lawrence‘s Sons and Lovers (1913)

Post-War and Post-Modern Literature 1945-1995Features: Loss of meaning, failures of reason and rationality. Example: Joseph Heller‘s Catch 22 (1961)

Sanders, Andrew (1996): The Short Oxford History of English Literature. Oxford: Oxford UP

(Foregrounding Principles)

Lexical Rhythmic Visual(speech situation) (meter and thyme)

(stanzas)

(Rhetorical Figures)

Phono Morph. Snyt. Sem. Pragma

Imagery(Metaphor, Simile, Synecdoche, Synasthesia, Metonymy)

Diction – Slection of words, style, vocabulary Lyric persona, spekar, or poet himselfTenor: The person, object or idea (“my love”)Vehicle: Object of comparison (“red, red rose)

Rhetorical Figures

Metaphor (My love is a red red rose, Robert Burns) Similie (My love is like a red red rose) Symbols/Symbolism (equates emotion, feeling)

Implicit and Explicit

“That’s my last Dutchess Painted on the WallLooking as if she were alive”

“The apparation of these faces in the crowdPetals on a wet, black bough.“

Lyric Thou“I remember you as you were in the last autumn. You were the grey beret and the still heart.In your eyes the flames of the twilight fought on.And the leaves fell in the water of your soul.”

Enounced – “what of poem”Enunciation – “how of poem”(speech situation)

“I remember you as werein the Garden of John Doe’sThe wind wailed past as you crossed the 14th Street”

Alliteration: succession of same sound or same consonant groupWild Wild West, Sea Shells Sell, Back Bench Boys

Consonance: (pause in alliteration; intervening vowel)Gobbets of Blubber; Son of a Gun

Assonance (congruence or close repetition

of vowel sounds)Blind eyes, hind sight

iamb aá [To bè], [or nòt] [to bè], [that ìs] [the quèstion]

(Shakespeare, "Hamlet")

trochee áa Tìger! tìger! bùrning brìght(William Blake, "The Tiger")

dactyl áaa Jùst for a hàndful of sìlver he lèft us (Robert Browning, "The Lost Leader")

anapestaaá The Ass`yrian came dòwn like a wòlf on the fòld

(Lord Byron, "The Deconstruction of Sennacherib")

1. phonological : alliteration, assonance, consonance,

onomatopoeia("He claps the crag with crooked hands“: Tennyson, "The Eagle")

2. morphological : changing meaning at the level of words, e.g. word repetition: "Help! I need somebody/ Help! Not just anybody/ Help! You know I need someone" (Beatles)

3. syntactic figures: changing meaning at the level of sentences e.g. parallelism "Lufthansa – the more you fly"; "Beauty is truth, truth is Beauty" (Keats, "Ode to a Grecian Urn")

4. semantic at the level of meaning, e.g. metaphors, tropes ("O heavy lightness! serious vanity!"

(Romeo and Juliet)5. pragmatic at the level of language use (rhetorical manipulation):

"Hast not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions?" (The

Merchant of Venice)

Anaphora – Repetition of first verse or clauseI remember you as you wereI remember you as are

Epiphora – Repetition at the end of verse or clauseYou came to the end of the worldYet you didn’t know it was the end of the world

Epanalepsis– Repetition in close succession Is it a lie, is it a truth of the lie Why do you cry, why do you make me cry

Anadiplosis an-uh-di-ploh-sis – tail repetitionI didn’t know I made you crycry, I say, for I am thirsty for your tears

PolyptotonI couldn’t cry when you criedI lied before I knew it was a lie

Figure etymologica (Repetition of Root)hit the hitman Play like a player

SynonymyI disliked the soup she declined it too

Chiasmus kahy-az-muhs ((reversal of structure in successive clauses)With wealth your state/ your mind with arts improve (Donne, The Canonization)

Asyndeton (succession of words or phrases)Peel it, rip it, shout, yell, say something!

Polysyndeton (conjoining words or clauses)Day gone by which hover and watchover what I see and I drink and think

Inversion (reversal of normal word order)Strange fits of Passion Have I known (Wordsworth)

Hysteron proteron (reversal of logical succession of events)I and all the others that will love you if they love you

Ellipsis (omission of words phrases verbs)Lufthansa – the more you fly

Aposiopesis apo-saio-pesis (abrupt interrpution)I will say it – well, why the hell should I say

Zeugma zugma (multiple application of verb)I quit cigarettes and my loveHe kicked the bucket and habit

Semantic figures work at the level of words and meanings

Euphemism To be under the weather (ill) passed away (dead)Gone far away (heaven) in the silent land (death)

Pleonasms (redundancy)Could you repeat that again (rather than could you say that again)

Oxymoron (contradictory, unseeming terms combined)What a good terrorist are you!I am feeling awfully good!

Paradoxon Believe me, I am a compulsive liar

Antithesis (opposite meanings balanced)Love is so short, forgetting is so longTo err is human, to forgive is divine

Simile (direct comparison)I drive like a maniac

Metaphor (indirect comparison with similar meanings)You are a machineBig problems are cold water showers, you have to get out as quickly as you get in

Rhetorical questions (answers itself)You say we are of different faiths. Would you believe in my God if I meet you in the same heaven?

Apostrophe (breaking the speech and directing to a person or idea)Has madness taken you!

Milton! would thou were here! Oh, Death, be not proud!Irony (opposite meaning outcome of what is intended)

For Brutus is an honourable manSo are they all, all honourable men

Water, water, every where,And all the boards did shrink ; Water, water, every where, Nor any drop to drink

Externalat the level of author and recipient, production and audience

Internal/Intertextualat the level of characters, text.characters move between the roles of the addresser and addressee

Key Components of Internal Communication

Dialogue MonologueSoliloquyAside

(there is no narrator in drama)

- Between the Characters and StageHistorical Author/ Recipient (reader and theatre apparatus)(addresser)

- Between the Cast and the AudienceTheatre apparatus and audience(addresser)

Epic Theatre . Stage Manager.Inside the Action . Outside the Action

Shaffer’s Amadeus (clip) . Wilder’s Our Town Verbal . Non Verbal . Alienation

Effect

‘Dramatic introduction’ (phatic)(Waiting for Godot)

‘Exposition’ (referential- drama text, context) (clip – The Tempest)

Isolated/Initial (separate from the action proper)(examples Brecht’s Caucasian Chalk Circle)

Integrated (part of the action proper)(clip Richard III)

Analytical Drama – genre – Analysis of exposition is present throughout

Monological Aside - Richard III (one person)

Dialogical Aside - The Tempest (a group)

Aside ad spectators- addressing audienceIrony

Congruent and Discrepant Awareness

Dramatis Personae Correspondences and contrast Pairing: husband-wife, father-son, lover-

beloved, master-servant Character and confidant/e Protagonist and antagonist

▪ Comedy; corresponding motive▪ Tragedy; contrasting motive

Function: one character serves as another’s foil in terms of similarities and differences

How many characters are present on stage at a given point of time.

Perspective: Its own reality mediated through

a) level of knowledge; b) psychological deposition; c) ideological disposition

Closed and Open

Static or dynamic character Individual and TypeFlat or round characterTransparent or opaque character

Figural and Authorial Explicit characterization▪ Presenting a character directly▪ Authorial: in stage directions, telling names▪ Character’s own description of him-/herself▪ Comments by other characters (before, during,

after entry; “gossip”) Implicit characterization▪ Presenting a character via similarities and contrasts

to other characters▪ Through the character’s way of speaking and acting▪ (Every explicit characterization is also implicit)

Story– Chronological order of eventsPlot – Various elements of story put

together in a logical order (casual dependence of elements)

“The King died and then the Queen died is the story

The King died and then the Queen died of grief is a plot”

Kernel – central to plot (forbidding, forbidding)

Satellites – embellish the plot sequence, omission does not disrupt logical sequence (tip-cat, everything, town)

1) First-person – ‘experiencing I’; ‘witnessing I’

Limitations: does not know much about the other characters’ motifs and intentions, must always offer logical explanation“Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o‘clock at night. It was remarked that the clock began to strike, and I began to cry, simultaneously.”

2) Authorial – figurally inserted, outside of the world of characters; concrete, tangible, self-identified immediately. Interjections, moral commentaries, flash forward, secondary texts. “[...] I shall not look on myself as accountable to any court of critical jurisdiction whatever; for as I am, in reality, the founder of a new province of writing, so I am at liberty to make what laws I please therein.” ( Fielding II, 1)

Advantages: omniscience and omnipresence; spatial, temporal and psychological privileges

See p. 112 for an example.

3) Figural – a) the narrator recedes from the story making it difficult to tell who is the diction proper; b) a reflector, primarily a third person, replaces the narrator, telling events observed closely from a first person perspectiveSee p. 114 for an example.Story telling frame vs. viewing frameFirst person, authorial vs. figuralAddressing by clear speaker vs. absent present speaker (example p. 115).

Narrator gives linguistic account of the world:“The street lights were getting dim against the thunderbolt of the storm. The poles were shaking. Garbage, plastic bags, empty coke-cans swept along the muddy streams as the wind wailed past his feet. Was there an umbrella and a raincoat in the car? How far is the car park from here? David wasn’t sure. But he headed towards the neon sign hoping for the best.”

Focalizer is the psychological centre:

“[…] what a variety of smells interwoven in subtlest combination thrilled his nostrils; strong smells of earth, sweet smells of flowers; nameless smells of leaf and bramble; sour smells as they crossed the road; pungent smells as they entered bean-fields.” – Virginia Woolf Flush

Homodiegetic/Heterodiegetic (where is the narrator positioned?)

Homodiegetic: first-person narrator/part of the narrative“Above all. I have a score to settle. I forget nothing. Forgive no one.” Joshi, Last LabyrinthAutodiegetic: Same example as above, if narrator is the main character of the story.

Heterodiegetic: not part of the story/not a character “Above all. She had a score to settle. She needed the money at any

cost. If only her husband had the faintest idea of all the ruses she contrived to kill him. The poor chap had no idea that she bought a life insurance policy on his name for two million dollars.”

Communication level (who is the narrator addressing)

Extradiegetic - IntradiegeticExtra: “Jay was a gentle man by all accounts. He was thirty five

and a Millionaire.”(narrator is not addressing anyone specific in the narrative, but a fictive reader)

Intra: “Well what use if he is a Millionaire, but lead the life of a miser”, exclaimed Rita. “And he doesn’t even know how to

count properly, and he is thirty five”, Roya chuckled.

(Narrator is communicating the story/narration through the characters-narrators)

Overt – explicit level/individualized“Ray’s heart raced at the thought. She remembered from the crime mysteries she watched on TV; Arsenic poison had no smell and no taste. There is no way he would smell it or taste even when he is sober. But what if they find the traces in the postmortem?”

Covert – implicit/anonymous“There were two pharmacy shops in the neighborhood. And then there is Ebay. But it would take two weeks to arrive. Arsenic is cheap to buy. Even rat poison to could be distilled if you had access to a lab. Gun shops are abound. Noose is the easiest. Takes no time to make one.”

Cognitive aspects of narration, such as feelings, emotions, cognitive perceptions only individuals can know from close observation and experience.

External Focalization (narrative level) “Darkness divulges no secrets. One can grope because one cannot see. Then a candle flickered. Some distant smell of burning wood. Chirping noise of birds can be a sign that water is nearby. One may not be able to see in the dark, but one can smell!”

Internal Focalization (story/action level) “[…] what a variety of smells interwoven in subtlest combination thrilled his nostrils; strong smells of earth, sweet smells of flowers; nameless smells of leaf and bramble; sour smells as they crossed the road; pungent smells as they entered bean-fields.“ Woolf, Flush