...Neoclassical writing and the Age of Enlightenment. Then writing changed to Transcendentalism and Romanticism. This paper will discuss the evolution of writing from weeks 9-weeks 14, differences between Transcendentalism and Romanticism and some of the themes discussed. “Transcendentalism and Romanticism were two literary movements that occurred in America during roughly the same time period (1840—1860). Even though the two have surface similarities, such as their reverence for Nature; however their founding beliefs were quite different. One of the huge differences is their views of God and God’s role in the lives of people. Transcendentalism was set mainly on the proposal that God is an inner might and that, as His creations, each person and everything have within them this divine spark. Furthermore Transcendentalism draws inspiration from the beyond or external to the human perspective even beyond reasoning and normal traditions. Romanticism, then again, had somewhat less to do with God. God, when mentioned, was seen as an external force as opposed to a divine spark contained in human nature. Romanticism was concerned with the grotesque as well as the sublime, and literary works of this genre are often concerned with the battle between the two within the individual. A lot of Romantics believed in an inherent darkness in human nature, in addition to an inherent light. Also Romanticism exemplifies the importance of emotions and freedom over intellectual growth. They believe that everyone...
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...novelists was inspired to include this conflict in their works. Edgar Allen Poe’s short story, the black cat, is a great example of how the literature reflected the conflict of the real world. In the horrific short story, the black cat, by Edgar Allan Poe, the reader follows the mind of a reflective 1.st person narrator, whose sanity and reliability is constantly questioned. To do this, Poe uses many literary techniques, which add up to the constant questioning of the narrator’s reliability. One technique is the distancing of norms and values between the reader and the narrator. An example proving this is the clinical and calmly description of how the narrator plans to hide the carcass of his wife: “Many projects entered my mind.” Notice how the narrator thinks rationally about hiding the carcass because it has a significant meaning later on in the interpretation. One might think that this is a sure sign that the narrator is completely insane, but because Poe uses a 1.st person narrator, he is, arguably off course, able to justify all his wicked actions. This is partly due to the 1.st person reflective point of view, where the reader follows the mind of the narrator, but also due to the narrator’s constant tries to convince the reader that he is rational and sane, and in such a degree that he is stating his sanity in the beginning of the short story. “Yet, mad am I not - and very surely do I not dream.” Other techniques used, which adds up to the questioning of the narrator’s reliability...
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...Presence of Poe Edgar Allan Poe is regarded as one of the great American writers in history. He had a unique way to present his stories, his imagination stretched into the darkest corners of his mind. One can say his characters were developed from personal experiences in his life. His use of writing techniques was ingenious and unsurpassed. These are just a few reasons why he is a permanent reminder whenever horror stories come to mind. Edgar Allan Poe was born in Boston on January 19, 1809. His parents were David and Elizabeth Poe. He was one of three children including his brother Henry and his sister Rosalie. His mother separated from his father when he was about two years of age and took her children with her. She died about a year later, when he was two years of age. He was separated from his siblings and was adopted by Mr. and Mrs. John Allan; this is where his name became Edgar Allan Poe. John Allan was a successful merchant, so Poe grew up in good surroundings and attended excellent schools. When he was six, he was sent to school in England and attended for five years. He then returned to the United States to continue his studies. At seventeen, Poe went to the University of Virginia but dropped out less than a year later because he could not support himself. John Allan shunned him. He enlisted in the Army because he had no money and nowhere to go at the age of eighteen. He did reasonably well attaining, the rank of sergeant-major, and got accepted to...
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...A Dream within a Dream Edgar Allan Poe’s Dream within a Dream (1), written in 1849 (2), is one of the most powerful English language poems of the 19th century. The power of Poe’s poem stems from its masterful use of rhyme, compactness and simplicity. It’s divided neatly into 2 stanzas, like bookends of a hallucination, the first one 11 lines, and the 2nd 13 lines. In the first stanza, the Poe wastes no time thrusting the reader immediately into his dream. As if sleepwalking, the reader is being kissed. This powerful technique places the reader as the subject of a romantic fiction. The universal condition of love, loss, and sorrow of separation are introduced in a mere 2 lines. As in many of Poe’s poems, this a tone poem, with the message reinforced by a plaintive repetitive melody. The ending of the first 3 lines: brow, now, avow, all sound in a soft minor key, setting a rhythm and pattern that strengthens the poem by setting the stage of meter and rhyming inevitability. The sounds are familiar and the reader knows they will repeat. The inevitability that is set up by the rhyming sequence is also a key theme of the poem. Poe tries to find some comfort in the pain of separation. He asks the reader, if hope is abandoned, does it even matter if life is only a dream? Is what we experience in his dream or in life insignificant? The second stanza takes the reader from the universal human experience of loss, to the microscopic examination of the smallest particles...
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...Cornelius Hughes Dr. Montgomery LibA 102 October 13, 2009 Poe’s Use of Irony in His Short Stories Gargano says that “Poe intends his readers to keep their powers of analysis and judgment ever alert;…” (178). Poe is not your average type of literary figure. He often uses personification, metaphors, and symbols in order to give hints at details that would otherwise be unknown. These type of tactics help to keep the readers on their toes, otherwise they would be subject to misinterpreting what they read. In particular, Poe was a profound user of irony in his short stories. Poe used irony to depict the errors in his characters’ ways of thinking and their actions. Stories such as “The Cask of Amontillado”, “The Tell-Tale Heart”, and “The Masque of the Red Death” are all short stories that convey this notion. It is my intention to, based on the evidence found and presented, to prove this point. Let us first look at how Poe’s use of irony proves this point in “The Cask of Amontillado.” . The setting of the events is an “evening during the supreme madness of the carnival season” (Poe, “Cask” 426). This setting alone is symbolic for in this time during a carnival, people dressed themselves in costumes, becoming for a short time something other than their normal selves. Both Fortunato and Montresor are outfitted. Fortunato is wearing “a tight-fitted parti-striped dress, and his head was surmounted by the conical cap and bells” (426). In short, his attire was much...
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...PREFACE This major project examines the indispensable desiderata of Transcendentalism in comparison to the Dark Romantics background and how these technicalities prepare this work of art as an influential synthesis of human imagination incorporated with mystic facts. Transcendentalism and Dark Romanticism were two literary movements that occurred in America during roughly the same time period (1840—1860). Although the two had surface similarities, such as their reverence for Nature, their founding beliefs were quite different, enough to make one seem almost the antithesis of each other. Moreover one’s genesis is ventured out from other; i.e. Dark Romanticism from the roots of Transcendentalism or precisely the lacunae are best determined for raising up the term called Dark Romanticism. Contents S. No. Page no. Chapter 1.........................................................................................................4-14 Chapter 2.........................................................................................................15-23. Chapter 3..........................................................................................................24-27 Resolution.........................................................................................................28-29 Work Cited................................................................
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...CJ Loehner Eng. 210 Tina Crossgrove 9/19/13 Montresor: Criminal or Hero? “Amontillado” a type of sherry wine that cost a man his life and all because he had a deceptive friend who fools him into thinking he needed some wine tasted. Edgar Allen Poe uses many types of literary devices in his writing to give his readers an enjoyable story to read. One of the devices is double entendre. One of the finest examples of this writing technique is in Edger Allan Poe’s “Cask of Amontillado”. In Poe’s short story we meet the interesting character of Montresor, a rich man who is out for revenge. Revenge most people would not even consider worth killing someone over. Not only does he have this revenge, Montresor is not much of a man for he does not want to fight this battle fairly. Actually, he is a two-faced person who is friendly and caring to Fortunato’s face while planning on killing him the entire time. During this story Montresor sometimes speaks using a double entendre. A double entendre is when you say one thing but mean something altogether different. When one realizes this it makes it hard to understand and causes one to wonder if Montresor can be trusted as a narrator. Edger Allan Poe’s use of this literary device makes one wonder if the reader can really trust what Montresor has to say, an if he is a reliable narrator or not. The act of getting revenge on someone is one of the oldest actions taken throughout the history of mankind. Revenge is harming somebody...
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...when a piece is written in North America, more precisely in the USA, it would automatically be given this epithet. But it should be taken into account that this idea is quite broad and doesn’t reflect the real essence of the term. However, there is also another definition that gathers this essence: American Literature is the one that represents the Americanism, the singularity of the USA philosophy and culture. This way, instead of focusing on who the author is, it is focused on the content of the writing. In that which concerns Fiction, the following documents are the ones considered as narrative: Speeches Letters Short Stories Essays Political Documents Sermons Novels Diaries 1 FIRST LITERARY EXPRESSIONS The first documents in which the idea of Americanism is very present are the Sermons. They respond to the strict Protestantism settled in the New Continent after the arrival of the Pilgrim Fathers and Puritans in the Mayflower (1620) and the Arabella (1630). They established a theocratic community whose main and only point of reference was the Bible. That is why the idea of the ‘city upon a hill’ is still very present in American mentality. As we all know, their community was also governed by the concept of Predestination. This belief was based in the idea that we are saved or condemned since the very moment we are born or even, since the very moment when the Universe was created. Therefore...
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...WRITTEN REPORT Course: Literary Criticism Topic: Perspectives and Techniques in Literary Criticism Reporter: Ms. Zairan A. Tutin INTRODUCTION: Literary criticism is not an abstract, intellectual exercise; it is a natural human response to literature. If a friend informs you she is reading a book you have just finished, it would be odd indeed if you did not begin swapping opinions. It is inevitable that people will ponder, discuss, and analyze the works of art that interest them. The informal criticism of friends talking about literature tends to be casual, unorganized, and subjective. Since Aristotle, Plato and other prominent literary critics, philosophers, scholars, and writers have tried to create more precise and disciplined ways of discussing literature. This day, literary criticism provides some general guidelines to help us analyze, deconstruct, interpret and evaluate different literary works. Literary critics have borrowed concepts from other disciplines, like linguistics, psychology, and anthropology, to analyze imaginative literature more perceptively. Mass media critics, such as newspaper reviewers, usually spend their time evaluating works—telling us which books are worth reading, which movies not to bother seeing. We usually see literary criticism in a book review or critical essay; however, nowadays the Internet has made all forms of criticism readily available in everything from personal blogs to social media. In this discussion, we will take a look at...
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...him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts while staying in the third person. Gustave Flaubert pioneered this style in Madame Bovary, as in this passage: “Sometimes she thought that these were after all the best days of her life, the honeymoon, so-called.” Objective narration: A style in which the narrator reports neutrally on the outward behavior of the characters but offers no interpretation of their actions or their inner states....
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... Submitted by: the 4th year student Paşcaneanu Mariana Group 404 Scientific adviser: Tataru Nina Senior Lecturer Chişinău 2012 Contents INTRODUCTION 2 CHAPTER I: SHORT STORY AS A FORM OF FICTION 5 I.1.Common Characteristics of a Short Story as a Form of Fiction. Its Plot and Structure. 5 I.2. Figurative Language. Definition. Function. 9 I.3. Imagery – Language that Appeals to the Senses 11 I.3.1. Simile, Metaphor and Personification. 13 1.3.2. Symbol and Symbolism. 26 I.3.3 Allegory. 30 CHAPTER II: LANGUAGE SHAPED BY IMAGINATION IN K. MANSFIELD’S SHORT STORIES 36 II.1. Figurative Language, Symbolism and Theme in "Her First Ball": 37 II.2. Katherine Mansfield – Techniques and Effects in A Cup of Tea. 41 II.3. Literary Colloquial Style in “Miss Brill” by K. Mansfield. 49 II.3.1. Lexical features—Vague Words and Expressions 49 II.3.2 Syntactical and Morphological Features 52 II.3.3 Phonological Schemes of the Figures of Speech 55 II.4. Simplifying Figurative Language in K.Mansfield’s Short Stories 60 CONCLUSION 64 BIBLIOGRAPHY 66 APPENDIX 70 INTRODUCTION Figurative Language is the use of words that go beyond their ordinary meaning. It requires you to use your imagination to figure out the author's meaning. For example, if someone tells you that it is raining cats and dogs, you know that there are not actually cats and dogs falling from the sky. You know it really means that it is raining...
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...baboon whose buffoon was dead). The collected stories Puppet Show and The baboon whose buffoon was dead have exerted profound influence on modern Persian literature. Then there was a gap of some fifteen years before Ruze Avvale Qabr (The First Night in the Grave) and (The Last Alms) were published in 1965 and 1966, respectively. After the publication of The Last Alms and The First Night of the Grave, Chubak wrote his novel The Patient Stone, which is a great modern novel in the Persian literature. Chubak also translated Shakespear’s Othello, Roland’s La Fin du Voyage, and Balzac’s Le P Gorio Goriot, Pinokio (the wooden dummy) the work of Carlo, ‘‘Carlo Kuludy’’, Lewis Carroll’s book ‘‘Alice in Wonderland’’, the poetry of raven and (work of Edgar Allen poet), and Maah pareh; a Hindis love story into Persian. In his works, Chubak studies the lives of downtrodden people of the society who were victimized by iniquities and natural deterministic forces. Sympathetic to the sorrows and miseries of such people, he dispenses one single solution, combating corruption and injustice. Chubak’s retirement coincided with the onset of the Islamic Revolution in Iran. An atheist since his early childhood, he found living in the Islamic Republic difficult. In 1974, ergo, he moved to London, England, first and then to the United States where he picked up residency in California to write his memoirs. Chubak passed away on July 12, 1988 at the age of 82 in Berkeley, California, U.S. Chubak’s cadaver...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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...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 and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 823’.0109--dc22 2007052226 ISBN: 978-0-7546-6413-0 Contents Acknowledgements vi Introduction 1 1 Overview: Short Fiction in the Early Nineteenth Century Part I: Criticism, History, and Definitions Part II: Short Fiction in the Periodical Press 5 5 22 2...
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...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 and criticism. 3. Short story. 4. Literary form—History—19th century. I. Title. PR829.K56 2008 823’.0109--dc22 2007052226 ISBN: 978-0-7546-6413-0 Contents Acknowledgements vi Introduction 1 1 Overview: Short Fiction in the Early Nineteenth Century Part I: Criticism, History, and Definitions Part II: Short Fiction in the Periodical Press 5 5 22 2...
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