LITERARY STUDIES 01.03.2014

Class no.1

Literary criticism (analysis, interpretation, exploration)

Literary theory (hermetical - way of interpretation)

Literary history: literary canon, literary periods (tradiction, convention, explanation)

1. Externistic (Consider things which are outside) models of literature:

• Mimetic (mimesis-imitation of realism; aristoteles)

• Pragmatic (effect; Horace; profits, esthetic, experience)

• Expressive (production, author, romantic

2. Intristic (no contects) model of literature:

• The text itself is the most important; aesthetic object; “art for art`s sake” (E.A.Poe)

GENRE - kind of literature that can be classified “ a model of a tekst which is distinguished by differences from other genres of its time but which also change all the time” (meyer7)

MEDIUM - the way of communication with us:

• Printed, written

• Audiovisual

• Oral literature/ ORATURE

CODE - forms of lg

Context

CODES

Structuralism, symiotic, postrealism

Deconstructionism, postmodernism

New criticism, formalism

THE AUTHOR - LITERART TEXT - THE READER

Psychoanalysis MEDIUM reader response theory (reception th.)

CONTEXT

Marxism, cultural materialism

New historicism

Feminism, gender studies

1. The author “centre approach”

Freud said that:

* the unconscious,

* the human psyche: -super ego (conscience)

- ego (conscience)

- id (belongs to unconscience, human drives (needs))

UNCANNY - very strange and difficult to expain

Jacques LACAN psyche: language, ling process

Mother - symbiotic unity

Father - symbolic order (lg is important)

Class no. 2 15.03.2014

NARRATIVE: -written and oral narrative

STORY → content “what is told

DISCOURSE → how the story is told; to whom by who

PLOT VS. STORY

“ the king died and the queen died of grief” “the king and the queen died”

REASONS just what was happend

CAUSE → EFFECT

NARRATIVE COMMUNICATION

Novel - more plots and complex characters develop different perspective

Short story - it is not precised details

1. Describe the person who is talking in story. Franz K. Stanzel:

PERSON (1^st - 3^rd narrator)

PERSPECTIVE (internal or external)

MOOD (narrator or reflector)

FIRST PERSON NARRATOR

• The narrating first vs. the experiencing first

First as protagonist (witness of what was happened) XVI-XIX

THE AUTHORIAL NARRATOR

*Is no character from the story

*Not connected with the story

*Outsider who looks to the story from the outside

*Third person point of view, perspective

*OMNIPRESENT/ OMNISICIENT “God life figure”

FIGURAL NARRATIVE SITUATION

*No visible character/ narrative

*They show us a story from the character but he is not character

READER RESPOND THEORY

→ George Poulet : readin is a passive process

→ Wolfgang Iser: reader - text dialogue / interacts with the text

→ Stanley Fish: the way reader see the text/ different reader - different ways / interperspective

Communities / re-writing of the text

RECEPTION THEORY

H.R.Jauss - readers have expectation from the text

New criticism

Anglo-american scholars → intristic perspective → text is an object for discutions

INTENTIONAL FAULACY (mistake)

AFFECTIVE FAULACY

Text itself, connotations , secondary meanings

Class no 3 29.03.2014

TIME

Narrative: short story, text

Plot : temporary organized in the story

DURATION:

Discourse time - jak długo ktoś opowiada, the length

Story time - czas w opowiadaniu, refers to sequence of events

ELLIPSIS: omitting sth (an important elements of the story)

SUMMARY: streszczenie (skracamy discourse time)

SCENE: omawiamy scenę (discourse long, story

STRENTCH: discourse time is longer (rozciągnięcie)

ORDER OF AN EVENTS:

*Chronological

*Anachronological

*Associative digression:

Flashforward

Flashback

FREQUENCY

BEGINING

*Ab ovo

*In medias res

*In ultimas res

ENDING

*Open

*Close / closure

USE OF TENSE: past, present, tense switch

STORY NARRATIVE

Setting (place, time); semantic space (przestrzeń ma znaczenie); loca

Location - realationships (social, political, historical, context)

Scenery, moral eviroment

CHARACTER

telling names; internal/external thoughts, emotions

types of character:

*Flat vs. round (simple vs. complex)

*Static vs. dynamic

*Transparent vs. opaque

Function:

*Major character

Main character (protagonist; only one)

Antagonist (in conflict, competition with protagonist) villain (bad one)

*Minor character

Vitness, narrator → foil chrs. Serves to show in a way protagonist

TECHNIQUES OF CHARACTER

*Direct vs. indirect

*Narrational vs. figural

*Selfcharacterisation vs. altero-characterisation

Action → setting (circumstances)

influence

character

Class no 4

PROSODY

Versification - budowa wiersza

RHYTM - measure of words and its signify basic pattern in language is established stressed syllable and unstressed syllable and poses (murfin and ray 413)

Metrum

METRE _ measure pattern of stressed and unstressed syllable lines of poetry

Define by feet

Kind of meter:

Accentwal _ syllabi, number stressed and unstressed syllable is the same

Accentval - only a stress syllable

Syllabic- number of syylabe is important

Quantitative - time of pronuncance the poem line

Free-verse - non metre verse

FEET

KIND OF FEETS

Based on 2 syllabe : - iamb ≥ _ a/bove

-trochee _ ≥

- spondee _ _

- pyrrhic ≥ ≥

Based on 3 syllabe: - anapest _ _ _

-dactyl ≥ _ _

-amphibrach _≥_

-amphimacer ≥ _ ≥

Based on 4 syllabe: - paeon ≥ _ _ _

-choriambus ≥ _ _ ≥

Numer of feet:

*monometer 1 foot

*dimeter 2 feet

*trimeter 3 feet

*tetrameter 4 feet

*pentameter 5 feet

*Hexa meter 6 feet

* heptametr 7 feet

* octameter 8 feet

SYNTAX

*end - stopped line

*run - on line

* caesura (,.; - inside a line)

* sprung rhytm - combination of various feet

Eye rhyme (move - dove; dough - tough)

Half rhyme (impure/slant /obligne)

Loads

End rhyme

*aabb - couplet

*abab - cross/ alternate

*abba - envelopo/embracing/enclosing

*abc abc - tail rhyme

ZWROTKI

Vers -whole poem or a line

Stanza - a group of lines of poetry forming in a unit

- Couplet ( 2 lines stanza with rhyme)

- Tercet /triplet

- Quntain/quintet

- Sestet/ sextet

- Septet

- Octet/octave

Class no 4

Lirycal poetry # rather short # single speaks, states of mind/emotional state # elegy, # sonnet: - petradam (love,art, Italy) octet+sekstet -shakspearan (friendship,spiritual love,reflection,history) 3xquartain + couplet # ode : exalted, solemn, mood

Narrative poetry # epic:hero # mock -epic: ballad -song transmitted to a story - folk ballad - street ballad ; crime, politic - literary - imitation of folk ballad (based on folk ballad)

Descriptive vs. dramatic

DRAMAT

- 5 acts originally

-list of characters

- stage directions (didaskalia)

- primary text/ secondary text (excluding the story itself)

Dramatic perschoe (list of characters)

Communitations: internal

External (leaflets)

Dramatic irony: differences between we know and chr.

I.PLAYS are divided into acts

II.SCENES

III.SET

IV.PROPS (equipments)

Structures of drama

- unities - unity of action (one continous plot)

- unity of time (take place in 24 hours, or one day)

- unity of place (one place/city)

Unity of action and time, nothing about unity of place (Aristotle)

VERSIMILITUDE - realistic; easy to belive (XVI-XVII) - english do not care

GUSTAU FREYTAG`S PIRAMID

1 . Exposition: setting the scene. The writer introduces the characters and setting, providing description and background.

2. Inciting Incident: something happens to begin the action. A single event usually signals the beginning of the main conflict. The inciting incident is sometimes called 'the complication'.

3. Rising Action: the story builds and gets more exciting.

4. Climax: the moment of greatest tension in a story. This is often the most exciting event. It is the event that the rising action builds up to and that the falling action follows.

5. Falling Action: events happen as a result of the climax and we know that the story will soon end.

6. Resolution: the character solves the main problem/conflict or someone solves it for him or her.

7. Dénouement: (a French term, pronounced: day-noo-moh) the ending. At this point, any remaining secrets, questions or mysteries which remain after the resolution are solved by the characters or explained by the author. Sometimes the author leaves us to think about the THEME or future possibilities for the characters.

TYPES OF DRAMAS

Closet drama vs .play (performed)

Absolute drama vs. epic (

Illusionist theory vs. non illusionist theatre (theatre of absurd)

Samule Becket (pointless of life, no structure)

TRAGEDY DRAMAS

Serious play, protognist usually died

-serious and coherence action

- noble characters

- fear and pity for chrs

I. HUBRIS (pride, arrogance), herto define moral rules or law

II.HAMARTIA (error) error made by mistake step

III DOWNFALL (punishment)

IV.NEMESIS

V.PERIPETI (peripeteia) coup de theatre (odwrócenie sie losu)

Odience should identify with chr

Pity and fear

VI. CATHARSIS

TYPES OF TRAGEDY Senecan tradegy/ revenge tradegy/ dumb show/ play-within-the -play/ domestic tradegy /• anti-hero/ • tragicomedy

TYPES OF COMEDY (high vs.low) . 1. Farce: often considered a separate form (Plautus, Charley's Aunt).often considered to be "low comedy" (versus "high comedy"). physical comedy : "slapstick" -- physical action provokes the thought. 2Burlesques-- lampooning other works of art, including theatre pieces.3. Satire -- ridicule of public institutions and figures. 4. Domestic Comedy --home and hearth. 5. Comedy of Manners / Wit: similar to character and situation aristocratic and witty characters .6. Comedy of Ideas, manners, melodrama.

Types of soliloguy: aside, monology aside, dialogue aside, ad spectators(do publiki)

Non-fictional communication author - reader

Implied fictional communication, implied reader

Narrator who adreses narrative

Fictional story, charakter/s, content

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