...(pattern of stressed and unstressed syllables in a line of poetry ,3 repetition of sound at the ends of words, * 4. Form/Genre (Lyric, Narrative, Dramatic)4-6 * 5. Diction (Connotative, Denotative) * 6. Literary Devices (Techniques, Figures of Speech) * Miscellaneous elements: * Tone-attitude of the writer 7 * Mood-atmosphere or general feeling * TYPES AND FORMS OF POETRY 1. LYRIC POETRY- meant to be sung to the accompaniment of a lyre -short, simple and easy to understand 8 A. Kinds of Lyric Poetry B. Sonnets- 14 lines with a formal rhyme scheme or pattern 9 C. Elegy- expresses lament or mourning for the dead 10 3. Ode- noble feeling, expressed with dignity and praises * TYPES AND FORMS OF POETRY * 4. Songs- poem w/ or w/o definite number of syllables and stanza and always accompanied by musical instrument * 5. Psalms- song praising God or the Virgin Mary and containing philosophy in life 11 * 6. Simple Lyric- includes a variety of poems with varying theme and characterized by subjectivity * II. NARRATIVE POETRY * -describes important events in life either real or imaginary 12 * -tells a story * -present dramatic events in a vivid way, using same elements as short stories: plot, characters, dialogue Kinds of Narrative Poetry: 1. Epic- extended narrative about heroic...
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...Fiction, Between Inner Life and Collective Memory. A Methodological Reflection. François-Xavier Lavenne, Virginie Renard, François Tollet1 Introduction In the writing of their fictional works, novelists often have to reflect on the functioning of memory, for memory lies at the heart both of inner life and of human experience in general. It is indeed in the works of writers such as Marcel Proust or Jorge Luis Borges that the best exemplifications of the subjective experience of memory are to be found. However, from a strictly mnemonic point of view, literature provides more than a means of reflecting on memory: it is also the site of the rebirth and construction of individual and collective memories, which can then serve as a foundation for the writing of fictional works. Creative writing has a meiotic function and is as such a powerful tool capable of rescuing memories from oblivion and bringing them back to life, thus reconciling the past with the present. The present article seeks to bring to bear new perspectives on the relationship between a novelist’s personal memories, collective memory, and the fictional narratives partially inspired by these two types of memory. In the first section we briefly examine the distinction traditionally made between individual memory and collective memory, which we then try to reconcile so as to arrive at an approach to the mnemonic phenomenon that best fits the needs of literary scholars. In the second section we challenge the conventional...
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...to write the “behind the scenes”-essay, The Writing of The Long Song. Herein she elaborates and discusses the process of writing her book and raises important questions that deal with extremely relevant themes such as family pride and the filtering of history. Levy opens her essay with a flashback to the conference she attended several years earlier in London where the main theme was the legacy of slavery. She remembers a woman asking the panel how she could be proud of her Jamaican roots when her ancestors had been slaves (p. 7, ll. 5-7). Levy doesn’t remember the panel’s answer to the woman but the question stayed with her for a long time and it ended up being her motivation for writing the book The Long Song. Levy is of Jamaican heritage herself and in contrary to the young woman, she proudly acknowledges her slave ancestry: “If our ancestors survived the slave ships they were strong. If they survived the plantations they were clever” (p. 7, ll. 16-19). On the other hand she is able understand the woman’s doubts due to the fact that her own parents also made a great effort to distance themselves from their heritage. “My mum would sooner say her family were slave owners than that they were once slaves” (p. 8, ll. 96-98). In her novel, Levy draws on a mixture of historical facts...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th century—History ...
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...Otherness: Essays and Studies 1.1 October 2010 Haunting Poetry: Trauma, Otherness and Textuality in Michael Cunningham’s Specimen Days Olu Jenzen Early conceptions of trauma are intimately linked not only with modernity but specifically with the height of industrialisation (Micale and Lerner 2001). This is converged in the opening of Specimen Days particularly in the image of an industrial accident at the ironworks where a young man is killed by the stamping machine. His young brother, replacing him at the machine after the funeral, then experiences an apparition of the dead brother still trapped inside the machine, which leads him to believe that all machines house entrapped ghosts of the dead. Writing on the Victorians’ anxieties about internal disruption caused by the advent of the railway, Jill Matus (2001, 415) has pointed out that, Freud himself remarked in Beyond the Pleasure Principle (1920), [that] there is ‘a condition [which] has long been known and described [and] which occurs after severe mechanical concussions, railway disasters and other accidents involving a risk to life; it has been given the name of traumatic neurosis’ (12). Freud’s remark brings to the fore the traumas of the industrial age as both individually and publicly experienced and negotiated. This condition of trauma as private and public, individual yet also societal is held in tension throughout Cunningham’s novel. Reflecting on the otherness of trauma and its vexed relationship to representation...
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...1 Discuss the relation between narrative style and mo ral judgement in Joseph Conrad’s Heart of Darkness. The relation between narrative style and moral judg ement in literature is an issue in aesthetic philosophy that stretches back to Plato. ‘Narrative style’, I define as those formal literary aspects employed by the writer, in order to construct a narrative that is unique. By ‘moral judgement’, I refer to the messag e conveyed by a given text when referring to objects beyond itself. The above quest ion presupposes a relation between narrative style and moral judgement, and as such, part of my analysis will be to determine whether such a presupposition is wa rranted. Joseph Conrad’s novella Heart of Darkness has been celebrated for its detailed examination o f European values and conduct. Ian Watt argues that ‘ Heart of Darkness embodies more thoroughly than any previous fiction the postu re of uncertainty and doubt.’ 1 But is this reading accurate? And if so, what stylistic devices does Conrad use in order to convey this position of ‘uncertainty’? Heart of Darkness uses an oblique narrative style, that is to say, t hat an unnamed narrator relates the narrative as it is in turn rel ated to him by Marlow, Conrad’s main protagonist in the novella. It is thus we can be to ld that for Marlow: ‘the meaning of an episode was not inside like a ke rnel but outside, enveloping the tale which brought it out only as...
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...when they are spoken independently of a grammatical setting such as a sentence. * Fiction writers & poets share many of the techniques of literature because their effects depend or universal language art. * points up it’s relationship to other serial arts such as music, dance,& film ( Humanities) * Happens in time * In order to receive it, we must be aware of what is happening now,remember what happened before anticipate what is to come. * A Work of Literature * A construction of separable elements like a structure. * The details of the scene , character or event/group of symbols can be conceived of as the bricks in the wall of literary structure. * If we miss one detail of the story,it would be incomplete comprehension for the readers. * The most important reason why we study literature is not about “what” but “How”.(Literature statement should be beyond peripheral) * Theme * Main idea of literary work is usually a structural decision,comparable to an architectural decisions. * consistency of the chosen theme/ex:”Native”/Filipino * Literary Terms 1. Symbol 2. Simile 3.Metaphor 4.Images 5.Diction 6.Denotation/Connotation * Literary Genres * are determined by literary technique, tone content & by critics’ definitions of the genres * a category , type or class Literature 1. Allegory : A narrative w/c litetal meaning corresponds clearly &...
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... |Themes, authors, primary texts |Critical reading | |Feb 8 |Introductions | | |Feb 15 |The Puritan Imagination I |IAS: “New Founde Land” | | |From: Mary Rowlandson: The Sovereignty and Goodness of God. |CHLUS: “Jonathan Edwards […] and the Great Awakening | | |From: John Winthrop: A Model of Christian Charity. | | | |From: Jonathan Edwards: Personal Narrative. | | |Feb 22 |The Puritan Imagination II. |IAS: “New Founde Land” | | |Anne Bradstreet: “The Author to Her Book,” “The Prologue,” “Upon the |CHAP: “Anne Bradstreet and Edward Taylor” | | |Burning…,” “To My Dear…” | | | |Edward Taylor: “Huswifery,” “Upon a Wasp Chilled with Cold,” | | |...
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...The Gender Politics of Narrative Modes I want to challenge two linked assumptions that most historians and critics of the English novel share. The first is that the burgeoning of capitalism and the ascension of the middle classes were mainly responsible for the development of the novel. The second is that realism represents the novel's dominant tradition. [note 1] I want to propose instead that, as surely as it marked a response to developing class relations, the novel came into being as a response to the sex-gender system that emerged in England in the seventeenth and eighteenth centuries. [note 2] My thesis is that from its inception, the novel has been structured not by one but by two mutually defining traditions: the fantastic and the realistic. [note 3] The constitutive coexistence of these two impulses within a single, evolving form is in no sense accidental: their dynamic interaction was precisely the means by which the novel, from the eighteenth century on, sought to manage the strains and contradictions that the sex-gender system imposed on individual subjectivities. For this reason, to recover the centrality of sex and gender as the novel's defining concern is also to recover the dynamism of its bimodal complexity. Conversely, to explore the interplay of realist and fantastic narratives within the novelistic tradition is to explore the indeterminacy of subjectivities engaged in the task of imposing and rebelling against the constraining order of gender difference. ...
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...American fiction writers who emerged in the 1990s. His debut novel, Fight Club (hereafter: FC) reached cult status after the film adaptation by David Fincher was released in 1999, and widespread and divided critical reception was soon to follow. Much of the current debate about Fight Club focuses on the political implications of the text, but most often recourse to it by way of referencing the film. These arguments usually question or celebrate the transgressive potentials of the book (Giroux; Mendieta), or address issues of masculinity brought into the fore by their literary and cinematic representations emergent in the same decade (Tuss; Friday). However, few, if any, have addressed the literary aspirations of the text and its author. Although none of the approaches to the thematic concerns of Fight Club are unjustified, in the argument that follows I will suggest that conclusions drawn and critical judgments passed have been hasty, and not only failed to take into account the formal aspects of story-telling, but that the narrative features of Palahniuk’s text have largely went unexplored, and constitute a blind spot of the reception. Critics condemning or acclaiming the novel, and, indeed, many a cultic reader of Palahniuk ignored Fight Club as a literary narrative, and have inadvertently been repeating the catchphrases of the text, either reinforcing or trying to undermine what they have understood as their meaning. I see the significance of Palahniuk’s fiction and the literary...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...did you learn about the author from your preliminary research | * Known for her narrative prose in both fiction and non-fiction. * She married her writing teacher, the poet R. H. W. Dillard, ten years her senior. | 2. Which point of view does the author use to tell the story and how does it impact the reader? | * First person-It gave a better understanding for the person reading because it allows the piece to go more in depth with information considering her daughter is telling the story. | 3. How would you describe the author’s use of diction? Be sure to include a few examples: | * The writing style of the author seems to be informative and serious.-When she describes the way her mother plays checkers. | 4. Identify some different resources of language (rhetorical devices) that the author employs to achieve a desired effect. Be sure to explain how the author’s use of rhetorical affects the audience. | * Allusions-She included how she was mayor of New York.-Lendalarm | 5. How would you describe the author’s tone? How does the author generate this tone? What is the impact of this tone on the reader? | * Very calm-Through the way she writes the passage.-The tone lets the reader know it is an interesting, yet serious passage. | 6. Describe the intended audience. Can you prove this assertion? | * The readers of the book.-At the top it shows the title of the book | 7. How is this selection structured? | * Chronological | 8. Vocabulary words to learn:...
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...,Compare and contrast the narrative structure of at least two of the films studied. Your answer should also evaluate the reasons why these structures were chosen. Since the commercial success of Alejandro González Iñárritu’s Amores Perros in the year 2000, there has been an indubitable resurgence in the amount of interest in, and amount of films being produced within Mexico. This picture, as well as Y Tu Mamá También (2001) by Alfonso Cuarón both received worldwide acclaim and have set a high benchmark for the other Mexican releases since the millennium to live up to. This essay will explore the prominence of narrative structure in the aforementioned Amores Perros (2001), as well as Amat Escalante’s Los Bastardos (2008) and Guillermo Del Toro’s El Espinazo del Diablo (2001). The constituents of a film’s narrative structure come under two different entities: the content of the film’s story, and the way in which the story is presented to the spectator. Vis-à-vis the content of the films story, the essay will mention how, on a thematic level, these films each rely heavily on the use of violence to delineate its message and intentions. James Kendrick states that the use of violence in a film is employed as a structuring device and it is evident that each of these films uses violence for differing intentions, of which the essay will later make discernible. Subsequently, the essay will contrast the order in which the stories are presented to the viewer, chiefly, regarding how Amores...
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