koło 1 literatura angielska

  1. Characterization (the way the characters can be presented)

  2. Focus and voice (narrator, stream of consciousness, interior monologue)

  3. Narrative frames (generic and compositional aspects of spatial motifs)

The Picture of Dorian Gray:

  1. - At the opening of the novel, Dorian Gray exists as something of an ideal: he is the archetype of male youth and beauty.

- As such, he captures the imagination of Basil Hallward, a painter, and Lord Henry Wotton, a nobleman who imagines fashioning the impressionable Dorian into an unremitting pleasure-seeker.

- Lord Henry said that if he was beautiful than he must be stupid

- Dorian was the inspiration for the painter – Basil

- Dorian became Basil’s friend

- He was ideal only in Basil’s mind

- the way of introducing the character: modern way, glimpses of life, impressionistic dealing with the character

2. Narrator:

- we dip into the minds of other characters here and there, from Lord Henry to Mrs. Vane

- The narrator is anonymous.

- The point of view is third person, omniscient. The narrator chronicles both the objective or external world and the subjective or internal thoughts and feelings of the characters.

- The narrator makes occasional descriptive observations about scenery, costume, facial expression and movements within the room, but has no relationship to any of the interacting characters.

- The characters within the story speak the narrative to each other, as it is told entirely in dialogues.

- The narrator is able to enter the protagonists’ mind.

Dr Jekyll and Mr Hyde

  1. - Physical Appearances - Dr. Jekyll and Mr. Hyde look differently, so they must be different people. More specifically, Dr. Jekyll and Mr. Hyde have markedly different physical characteristics. Dr. Jekyll is described as middle-aged, distinguished-looking, and a large man. Mr. Hyde is younger, more energetic, and described by just about everyone as seeming to have a deformity. No one can pinpoint exactly what this deformity is, but they unanimously agree that it’s there, and that it’s definitely evil.

  1. Narration:

- The narrator is anonymous and speaks in the third person. Dr. Lanyon and Dr. Jekyll each narrate one chapter of the novel via a confessional letter.

- For most of the novel, the narrative follows Utterson’s point of view

- The third person limited point of view picks one character and follows him around – in this case, Mr. Utterson. However, Mr. Utterson’s point of view is supplemented by four other narratives: Mr. Enfield’s story of the door, the maid’s account of the Carew murder, Dr. Lanyon’s story, and Dr. Jekyll’s confession.

- Utterson: he’s not a terribly involved narrator. We watch him speculate about Dr. Jekyll and try to unravel the mystery, but he’s not overcome by strong emotions all the time. He’s an average fellow who cares about his friend’s well-being, and isn’t going to project many of his own opinions onto the story he unravels

The Door in the Wall

  1. Characterization:

- The door is the way of characterization

- we learn about the character straight from the narrator and also from the characters

- reappearance of the door – important for the character

- we learn about Wallace from the story told by Redmond

- At first. Redmond does not know if he should or should not believe his friend's wild tale: "But whether he himself saw, or only thought he saw, whether he himself was the possessor of an inestimable privilege, or the victim of a fantastic dream, I cannot pretend to guess." This unwillingness to judge his friend displays his sense of sympathy. Redmond represents the voice of reason, making Wallace's story more believable because it is told by what readers assume is a reliable narrator. Furthermore, because Redmond is relating the tale, readers also learn of Wallace's strange death, which seems to verify the tale Wallace tells him at dinner. Redmond's account of the story also lends it a tragic tone because it is related after Wallace's death—a feat not possible if Wallace himself was the narrator.

- Lionel Wallace: Politician Lionel Wallace is the protagonist of "The Door in the Wall." As a child living in a joyless home, he discovers a door to a visionary garden of happiness. His cautious nature is shown by his trepidation upon encountering the door, because he knows his father will be angry if he opens it. A child of a strict, Victorian upbringing, Wallace has been conditioned to deny his imagination and put all his effort into becoming successful.

- traditional way of introducing the character – chronological

stream of consciousness, narrative technique in nondramatic fiction intended to render the flow of myriad impressions—visual, auditory, physical, associative, and subliminal—that impinge on the consciousness of an individual and form part of his awareness along with the trend of his rational thoughts. As the psychological novel developed in the 20th century, some writers attempted to capture the total flow of their characters’ consciousness, rather than limit themselves to rational thoughts. To represent the full richness, speed, and subtlety of the mind at work, the writer incorporates snatches of incoherent thought, ungrammatical constructions, and free association of ideas, images, and words at the pre-speech level.

Her First Ball

Mansfield reveals Leila's thoughts through narrator commentary, indirect speech, free indirect speech, and sensory and psychological reactions. She opens the narrative with narrator commentary in which she exposes Leila's thoughts as one who is privy to Leila's every thought: "Exactly when the ball began Leila would have found it hard to say."

Indirect speech is a technique in which a character’s words are stated by the narrator without benefit of direct quotation: "That was the great difference between dancing with girls and men, Leila decided."

Free indirect speech takes indirect speech one step further and gives the characters thoughts as though one were directly listening in to the character's thoughts:

Why didn't the men begin? What were they waiting for? There they stood, smoothing their gloves, patting their glossy hair and smiling among themselves.

Finally, Mansfield reveals Leila's thoughts through recounting her sensory and psychological reactions:

Leila ... felt that even the little quivering coloured flags strung across the ceiling were talking.

The azaleas were separate flowers no longer; they were pink and white flags streaming by.

She quite forgot to be shy ....

One modernist technique Mansfield does not use is stream of consciousness. While this term may be loosely used by some to cover other techniques that reveal a character's inner thoughts, like free indirect speech, for example, the definitive elements of fragmentation and randomness that mark stream of consciousness are missing from Mansfield's techniques in "Her First Ball."

Daisy Miller

Narrator:

Mrs Dalloway

Characters:

Clarissa Dalloway - Constantly overlaying the past and the present, Clarissa strives to reconcile herself to life despite her potent memories. For most of the novel she considers aging and death with trepidation, even as she performs life-affirming actions, such as buying flowers. Though content, Clarissa never lets go of the doubt she feels about the decisions that have shaped her life, particularly her decision to marry Richard instead of Peter Walsh. She understands that life with Peter would have been difficult, but at the same time she is uneasily aware that she sacrificed passion for the security and tranquility of an upper-class life. At times she wishes for a chance to live life over again. She experiences a moment of clarity and peace when she watches her old neighbor through her window, and by the end of the day she has come to terms with the possibility of death. Like Septimus, Clarissa feels keenly the oppressive forces in life, and she accepts that the life she has is all she’ll get. Her will to endure, however, prevails.

Woolf intended for Clarissa to speak the sane truth and Septimus the insane truth, and indeed Septimus’s detachment enables him to judge other people more harshly than Clarissa is capable of.

Narration:

(Emily Brontë Wuthering Heights: (chapters: 1, 2, 3) Charles Dickens Great Expectations (chapters: 1, 2, 59))

Wuthering Heights

Characters:

Heathcliff - Wuthering Heights centers around the story of Heathcliff. The first paragraph of the novel provides a vivid physical picture of him, as Lockwood describes how his “black eyes” withdraw suspiciously under his brows at Lockwood’s approach. Nelly’s story begins with his introduction into the Earnshaw family, his vengeful machinations drive the entire plot, and his death ends the book.

. . . a tall, athletic, well-formed man; beside whom my master [Edgar] seemed quite slender and youth-like. His upright carriage suggested the idea of his having been in the army. His countenance was much older in expression and decision of feature than Mr. Linton's; it looked intelligent, and retained no marks of former degradation. A half-civilised ferocity lurked yet in the depressed brows and eyes full of black fire, but it was subdued […]

Narration:

Spatial motifs:

Great Expectations

Narration:

Spatial motifs:

Tess of d’Ubervilles

Narration:

Spatial motifs:


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