DOCSLIB.ORG

The Biblical Typology of Christina Rossetti by Elizabeth Ludlow

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Biblical Typology of Christina Rossetti by Elizabeth Ludlow University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/1993 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. ‘We can but spell a surface history’: The Biblical Typology of Christina Rossetti By Elizabeth Ludlow A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English University of Warwick Department of English and Comparative Literary Studies October 2008 Acknowledgments I am very grateful to my supervisor, Emma Francis, for the support and guidance that she has given me throughout this project. I would also like to thank Zoë Brigley for her invaluable friendship which has helped make my time at Warwick enjoyable. My thanks also to Thomas Docherty, John Holmes, Margaret Flett, Emma Mason, Rhian Williams, and Madeleine Wood for the interest they have taken in my work and for the comments and suggestions that they have made. My research has been funded by the Arts and Humanities Research Council. I would also like to acknowledge the help of the Department of English and Comparative Literary Studies at the University of Warwick. My thanks also to St. Deiniol’s Library for an invaluable two week residential scholarship, to the British Association of Victorian Studies for two conference related bursaries, and to those at the 2007 North American Victorian Studies Association conference for their encouragement. My biggest thanks is due to my family, Sandra, Gordon, and Annette for their ongoing love and their continued willingness to help me in so many ways. I would finally like to thank all my wonderful friends for their support. I would especially like to thank Ruth Lockyer and Rebecca Rolls for having helped make Leamington my home for the past three years. Declaration This thesis is my own work. It has not been submitted for a degree at another university. A small portion of the introduction (pp. 12-13), has appeared in a different form in my chapter, ‘Christina Rossetti and the Bible’ in The Blackwell Companion to the Bible in English Literature, ed. by Christopher Rowland, Emma Mason, Rebecca Lemon, and Jonathon Roberts (Oxford: Blackwell, 2008). Contents Thesis Abstract iv List of Abbreviations v Note on the Text vi Introduction 1 Chapter 1: ‘What is time?’: Articulating the ‘Distended’ Self through Eschatology 21 Chapter 2: The Identity of the Bride of Christ 80 i. The Typological Realisation of the Virgin Mary 81 ii. The Nun as the Bride of Christ 115 Chapter 3: Reading ‘From House to Home’ as a Mystical Experience 134 i. Ineffibility 142 ii. Noetic qualities 155 iii. Transiency and Passivity 175 Chapter 4: Moving beyond Eden: The Typology of the Christian Journey 184 i. ‘Speed me with a song’: The impetus of Liturgy 185 ii. ‘A garden in a garden’: A typological reading of Rossetti’s enclosed gardens 204 Chapter 5: Multiple Reflections: The ‘deep surface’ of Rossetti’s Sonnet Sequences 222 i. ‘Not as she is but as she fills his dream’: Negotiating the Pre- Raphaelite Epipsyche 227 ii. Beyond the looking glass: Hermeneutical understandings of true feminine attractiveness 246 Afterward: ‘For ever One, the Same and Manifold’ 263 Bibliography 266 Thesis Abstract ‘We can but spell a surface history’: The Biblical Typology of Christina Rossetti My research examines Christina Rossetti’s use of biblical typology in her articulation of individual and communal identity. The central concern of my thesis is with tracing the ways in which she bridges the gap between the two biblical covenants and her contemporary situation by a ceaseless interpretative movement between the discourses of the Old and New Testaments. After examining the basis for her typological modes of reading, I demonstrate the various ways in which they underpin her interpretations of Tractarian, Romantic, and Pre-Raphaelite writings as well as providing her with a framework with which to structure her own poetic sequences. In my examination of the ways in which Rossetti engages with patristic and medieval theology and articulates identity through the cyclical dynamics of typology, I consider her writings alongside those of Isaac Williams, John Keble, John Henry Newman, and Edward Pusey and highlight the key part they play in reinforcing the Oxford Movement’s liturgical momentum. Focusing specifically on her poetic utilization of the ancient practice of chanting psalms and antiphons, her engagement with the musicality of the church service, and her depiction of the visual aspects of ritualism, I read her poetry in terms of the mystical journey towards God upon which, she suggests, each Christian embarks. Applying to Rossetti’s poetry the method of typological analysis that she herself uses, I consider how the poems in her 1893 volume, Verses, can be understood to comment upon her earlier works and how her earlier poetry can be seen as an antecedent to her later works. Through this, I trace the development of her theology as it engages more directly with the hermeneutical principles encouraged by the Tractarians and offers a basis upon which the patristic concept of trinitarian personhood can be understood. List of Abbreviations The following abbreviations are used parenthetically in the text for frequently cited works by Christina Rossetti. Letters The Letters of Christina Rossetti, 4 volumes, ed. by Antony H. Harrison (Charlottesville; London: University Press of Virginia, 1997-2004) CP Christina Rossetti: The Complete Poems, Text by R.W. Crump, Notes and Introduction by Betty S. Flowers (London: Penguin, 2001) WMR The Poetical Works of Christina Georgina Rossetti, with Memoir and Notes, ed. by William Michael Rossetti (London: Macmillian & co., 1904) FD The Face of the Deep: A devotional Commentary on the Apocalypse (London: SPCK, 1892) TF Time Flies: A Reading Diary (London: SPCK, 1885) LS Letter and Spirit: Notes on the Commandments (London and Brighton: SPCK, 1883) CS Called to Be Saints, The Minor Festivals Devotionally Studied (London: SPCK, 1881) SF Seek and Find: A Double Series of Short Studies of the Benedicite (London: SPCK, 1879) AD Annus Domini: A Prayer for Each Day of the Year (London: James Parker & Co., 1874) Note on the Text Notwithstanding my investigations into Rossetti’s biblical hermeneutics, this thesis has been written as a work of literary scholarship. As such, the theological terminology used corresponds with the terminology familiar to Christina Rossetti and the writers of the Tractarian movement rather than with that of contemporary theologians. Following the pattern of Rossetti’s devotional prose, all the biblical passages I have quoted are, unless stated otherwise, taken from the King James Version and the Psalms are taken from the Prayer Book Psalter. 1 Introduction Recognising the affinity that exists between the hermeneutical practice of typology and the development of poetic structures, this thesis traces the various ways through which Christina Rossetti’s devotional and non-devotional poetry works to bridge the gap between the Old and the New Testament. Throughout my investigation of how Rossetti finds and generates meaning in the space between the various books of Scripture so as to fashion various models of subjectivity, I do a combination of three things. First I analyse how, through a variety of poetical techniques, she engages with the various models of identity offered in Scripture. Next, I explore and define the mysticism inherent in her writings. Finally, I trace her development as a poet and theologian and investigate her increasingly theological engagement with the models of trinitarian personhood offered by the patristic Fathers. Exploring the interrelation that exists between Rossetti’s habits of poetic composition and her method of typological thinking, I suggest that all of her devotional writings are a product of her Christian faith. As such, I emphasise the characteristics that they share with the books of the Bible and the patristic elements of male Tractarianism. In her 1856 poem, ‘A Christmas Carol for my Godchildren’ (CP, p. 792- 794) Rossetti conflates the ‘star’ (line 2) which, according to Matthew, led the wise men to the infant Jesus (Matthew 2:9) with the illumination that she believes is offered to each individual by the Holy Spirit. Demonstrating her adherence to Peter’s instruction to ‘take heed’ of the ‘sure word’ of prophecy until ‘the day star arise in your hearts’ (2 Peter 1:19), she compares her ‘life’ to the ‘journey’ of the wise men and ‘their star’ to ‘God’s Book’ (lines 37-8). In her 2 1874 book, Annus Domini: A Prayer for Each Day of the Year, she repeats her typological interpretation of the star of the nativity when she prays, O LORD Jesus Christ, the Bright and Morning Star, as once by a star Thou didst lead the Wise Men unto the sure mercies of David, so now by Thine Illuminating Spirit guide us, I pray Thee, to Thyself: that we with them, and by the Grace of the same Most Holy Spirit, may offer unto Thee gold of love, frankincense of adoration, and myrrh of self-sacrifice. Amen. (prayer no. 366) I want to suggest that Rossetti’s practice of calling her readers to join together and obediently follow ‘Thine illuminating Spirit’ serves as the central impetus behind her devotional prose and poetry. By confidently expressing the notion that the ‘same Most Holy Spirit’ who led the wise men guides the lives of each individual believer, she underscores her particular method of typology whereby she reads Biblical history in relation to the immediacy of the Kingdom of God.
Load more

Recommended publications
  • 2-Łamanie (11).Indd
    Yearbook of Conrad Studies (Poland) Vol. 11 2016, pp. 75–86 doi: 10.4467/20843941YC.16.005.6851 ROMEO AND JULIET: A NEW CONTEXT FOR VICTORY? Nic Panagopoulos National & Kapodistrian University of Athens Abstract: The contention of the present comparative study is that the closest Shakespearean work to Conrad’s Victory is not The Tempest, as has previously been thought, but Romeo and Juliet. Besides various thematic links between these two texts, also noted by Adam Gillon (1976), I argue that Victory and Romeo and Juliet are connected on the level of genre, plot, and characterization, with whole scenes in Conrad’s novel mirroring those in Shakespeare’s play. In conclusion I suggest that the striking similarities between the two works can either be explained by a conscious desire on Conrad’s part to imitate Shakespeare’s art, or by a kind of involuntary emulation, whereby the nov- elist had so far assimilated the Bard’s work as to follow it unconsciously while composing his own novel. Keywords: Conrad and Shakespeare, tragedy/comedy, mirroring, Victory, Romeo and Juliet, com- parative study, cryptomnesia In his famous extended essay “Joseph Conrad and Shakespeare,” the late Adam Gillon does a remarkable job of tracing the many textual and thematic parallels between Conrad’s major works and virtually the whole Shakespearean canon. He be- gins by pointing out that Conrad could have read The Two Gentlemen of Verona at the age of eight as his father was translating many of the Bard’s works into Polish around 1856. As is often the case, Shakespeare must have been one the fi rst writers that the young and impressionable Conrad was exposed to, and certainly one of the fi rst English writers in that category.
    [Show full text]
  • Urania: Science Fiction, Fantasy and Me
    Urania: Science Fiction, Fantasy and Me As soon as I could read, I was under the spell of Fantasy. Enid Blyton first, whose adventures in The Enchanted Wood and The Wishing Chair impressed on me a basic narrative of magical transformations; and a mythology of authorship itself. Then I found P. L. Travers’ Mary Poppins; and Mary Stewart, whose school for young witches pre-dated Harry Potter, in The Little Broomstick (1971); both charging the power of childhood imagination. My early teachers of storytelling included Norman Juster, whose The Phantom Tollbooth bordered clashing cities of Dictionopolis and Digitopolis; less famous but nonetheless named too, in Mendlesohn and James’ seminal The Short History of Fantasy (2009). This required reading for geeks gives a groovy definition: 'The most obvious construction of fantasy in literature and art is the presence of the impossible and the unexplainable. This helps to cut out most science fiction (sf) which, while it may deal with the impossible, regards everything as explicable...' (p.3) Thus it defines a fantasy canon, perhaps for the first time; though the players lined up on these pages are familiar favourites, from Greek and Roman myth, Celtic and Arthurian legend, French fairytales and English ghost stories; from gothic horror to blockbusting children’s fiction. I never set out to write fantasy, as such, but it is culture’s central narrative. Not just for questing youths cloaked in anoraks, not all sword-and-sorcery; writers in its ‘short history’ range from Bram Stoker to Beatrix Potter. Indeed, on the bookshelves at the start of my personal literary timeline, the whole series of Armada Ghost Books (1970-1982), many volumes edited by Mary Danby are prominent, before this childhood crush on the uncanny became a teenage craze for Stephen King and even James Herbert.
    [Show full text]
  • Department of English July 2020
    Department of English Summer Reading for Students Continuing Studies in English Literature at Level 5 in September 2020 July 2020 All books listed can be obtained from: https://www.johnsmith.co.uk/chester [email protected] EN5004 The Gothic Module convenor: Dr Alex Tankard ([email protected]) Key Texts: The following are recommended editions of the novels we will be studying. This list will be supplemented at the start of the year (by the addition, for example, of some short stories), but it is important that you get ahead with as much reading as possible during the vacation: • Mary Shelley, Frankenstein, ed. Paul Hunter (Norton Critical Edition) ISBN 978-0-393-92793- 1 • Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde, ed. Katherine Linehan (Norton Critical Edition) ISBN 978-0-393-97465-2 • Bram Stoker, Dracula, eds. Nina Auerbach and David J. Skal (Norton Critical Edition) ISBN 978-0-393-97012-8 • Anne Rice, Interview with the Vampire (London: Sphere, 2008) 978-0751541977 • Stephen King, The Shining (London: Hodder, 2011) ISBN 978-1444720723 We recommend that you read and make notes on as many of these texts as you can over the summer. Particularly in the case of the first three texts on the list we strongly recommend that you buy the specified editions – the Norton Critical Editions have been chosen because they contain a wealth of contextual and critical material which you will find useful not only in coming to grips with the individual texts but also in building your understanding of the Gothic as a whole.
    [Show full text]
  • Victorian Fiction Writers, Publishers, Readers
    Victorian Fiction Writers, Publishers, Readers Also by John Sutherland THACKERAY AT WORK VICTORIAN NOVELISTS AND PUBLISHERS FICTION AND THE FICTION INDUSTRY BESTSELLERS: POPULAR FICTION OF THE 1970S OFFENSIVE LITERATURE THE LONGMAN COMPANION TO VICTORIAN FICTION MRS HUMPHRY WARD THE LIFE OF WALTER SCOTT LAST DRINK TO L.A. IS HEATHCLIFF A MURDERER? CAN JANE EYRE BE HAPPY? WHO BETRAYS ELIZABETH BENNET? STEPHEN SPENDER: THE AUTHORIZED BIOGRAPHY READING THE DECADES SO YOU THINK YOU KNOW JANE AUSTEN? SO YOU THINK YOU KNOW THOMAS HARDY? INISIDE BLEAK HOUSE Victorian Fiction Writers, Publishers, Readers John Sutherland © John Sutherland 1995, 2006 Softcover reprint of the hardcover 1st edition 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 1995 Reissued with a new preface 2006 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St.
    [Show full text]
  • Liste Des Fournitures Année Scolaire 2020
    LISTE DES FOURNITURES ANNÉE SCOLAIRE 2020 - 2021 2nde, 1ère et Terminale FOURNITURES OBLIGATOIRES Matériel commun Une trousse Règle graduée 20 cm Compas Equerre Rapporteur Ciseaux Des pochettes plastiques et intercalaires Papier millimétré 1 calculatrice (voir ci-dessous) Des surligneurs Un agenda Pour les 1ères L et les Tales L 3 flip files (10 pages) Français Un grand classeur Pour les 2ndes Une dizaine d’intercalaires Un grand classeur Une dizaine d’intercalaires Pour les 1ères Un porte-vue Une liseuse électronique Anglais tous les niveaux Un complément de matériel vous sera demandé à la rentrée selon les groupes 1 cahier très grand format 24cm x 32cm, 96 pages, à grands carreaux Pour les OIB seulement : Œuvres à acheter : Seconde : Sue Monk Kidd - The Secret Life of Bees Arthur Miller – The Crucible JD Salinger - The Catcher in the Rye Mary Shelley- Frankenstein Samuel Becket – Waiting for Godot William Shakespeare – A Midsummer Night's Dream An Image in a Mirror, Ijangolet Ogwang, ISBN 978- 1928-337591 Première : Disgrace by J.M. Coetzee. (Vintage ISBN978-0-099-28952-4) Heart of Darkness by Joseph Conrad (Penguin Popular Classics ISBN978-0-14-062343-7) A Streetcar Named Desire by Tennessee Williams (Penguin Classics ISBN978-0-141-19027-3) The Great Gatsby by F. Scott Fitzgerald (Penguin Classics ISBN978-0-141-18263-6) Othello by William Shakespeare (Pelican Shakespeare ISBN978-0-14-071463-0) The God of Small Things by Arundhati Roy (Flamingo ISBN0-00-655068-1) Poems by Robert Frost and Emily Dickinson (supplied by the teacher) Oedipus Rex by Sophocles (Harper Perennial ISBN978-0-06-213208-6) Terminale : The Tempest – Arden Edition (Bloomsbury) ISBN 978-14-081334-77 The Scarlet Letter- Nathaniel Hawthorne (2010: Collins Classics) ISBN 978-0-00-735092-6 Intimate Apparel – Lynn Nottage (2014: Nick Hern Books) ISBN 978-1-84842-437-1 Interpreter of Maladies – Jhumpa Lahiri (2000: Flamingo Harper Collins) ISBN 978-0-00-655179-9 Stranger in the Village – provided by the teacher LYCEE FRANÇAIS JULES VERNE NPC – Registration No.
    [Show full text]
  • Revolutionised Female Vampires: from Femme Fatale to a Mother
    KULTURA I HISTORIA nr 33 / 2018 Magdalena Michalczyk–Janas: Revolutionised Female Vampires: From Femme Fatale to a Mother Uniwersytet Pedagogiczny im. KEN w Krakowie [email protected] Abstract: Revolutionised Female Vampires: From Femme Fatale to a Mother Vampires have been en vogue for many centuries. My paper will look at their feminine side, taking into consideration characters that have either been forgotten, overlooked or have become unjustly famous. The figure of a female vampire has changed dramatically over the last century. Female vampires used to be depicted as monsters, nowadays they are civilised, live in the neighbourhood, and are happy to be “ordinary” mothers. In my paper, I would like to focus on three female characters: Joseph Sheridan Le Fanu’s Carmilla, Bram Stoker’s Mina and Stephenie Meyer’s Bella, the protagonist of Twilight. They represent different models of a female vampire: a villainess, a damsel in distress, and a contemporary vampire, respectively. All three females seem to be liberated and free, yet there are still some elements that are constricting them, such as religion, patriarchal society, their gender, and the cultural context of the period they lived in. The paper also raises the question whether, and to what extent, we have domesticated the vampire. Should we call it “him” or “her”? Can a vampire be a mother or a lost, fragile girl? Keywords: Female Vampires, Nineteenth Century Literature, Gothic Fiction, Feminism, Comparative Literature Abstrakt: Wampiry są w modzie od wielu wieków. Mój artykuł skupi się na kobiecej stronie tych istot, biorąc pod uwagę postaci zapomniane, pominięte, jak również te, które są niezasłużenie sławne.
    [Show full text]
  • 6 Works Cited
    6 Works Cited Primary Literature Arnold, Matthew (1867): “Dover Beach”. English Poetry III: From Tennyson to Whitman. Vol. XLII. The Harvard Classics. New York: P.F. Collier & Son, 1909–14. Atwood, Margaret (2004): Oryx and Crake. London: Virago. Austen, Jane (2004) [1818]: Persuasion. Ed. James Kinsley. Oxford World’s Classics. Oxford: Oxford UP. Ballantyne, Robert Michael (1993) [1858]: Coral Island. London: Wordsworth Clas- sics. Banville, John (2005): The Sea. London: Picador. Beckett, Samuel (1986): The Complete Dramatic Works. London: Faber and Faber. Blake, William (1976): Complete Writings: With Variant Readings. London: Oxford UP. Caesar, Julius (1970): The Gallic War. Transl. H.J. Edwards. London: Harvard UP. Césaire, Aimé (1985): A Tempest. Transl. Richard Miller. New York: TCG Transla- tions. Coetzee, J.M. (2003): “Nobel Lecture – Literature 2003.” Nobelprize.org. 24 Jun 2012. — (1986): Foe. London: Penguin. Conrad, Joseph (2006) [1899]: Heart of Darkness. Ed. Paul B. Armstrong. New York and London: Norton. — (1926): Twixt Land and Sea. New York: Doubleday, Page & Company. Crabbe, George (1810): The Borough. 21 June 2012. <http://www.gutenberg.org/ ebooks/5210>. Dahl, Roald (1964): Charlie and the Chocolate Factory. London: Penguin. Dante, Alighieri (1995): Inferno. Transl. Mark Musa. Bloomington: Indiana UP. Defoe, Daniel (1994) [1719]: Robinson Crusoe. London: Penguin Popular Classics. Diaper, William (1951) [1712]: The Complete Works of William Diaper. Ed. Dorothy Broughton. London: Routledge. Dickens, Charles (1957) [1836]: “The Tuggses at Ramsgate.” Sketches By Boz. Lon- don: Oxford UP, 335-354. Eliot T.S. (1963): “The Lovesong of J. Alfred Prufrock.” Collected Poems 1909-1962. London: Faber & Faber. Garland, Alex (1996): The Beach.
    [Show full text]
  • Aoise Stratford Received a Bachelor of Arts Degree with Honors from the University of New
    STILL HAUNTING THE CASTLE: FEMINIST AND POSTCOLONIAL GOTHIC THEATRE AT THE END OF THE TWENTIETH CENTURY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the DeGree of Doctor of Philosophy by Aoise A. Stratford February 2016 © 2016 Aoise A. Stratford STILL HAUNTING THE CASTLE: FEMINIST AND POSTCOLONIAL GOTHIC THEATRE AT THE END OF THE TWENTIETH CENTURY Aoise A. Stratford, Ph.D. Cornell University 2016 Abstract: Despite the fact that Gothic drama dominated London and American staGes around the turn of the nineteenth century, Gothic is a critically disparaGed term rarely used in contemporary theatre scholarship. This project seeks to reclaim the term in the context of certain twentieth-century plays by women that can be said to belong to a genealogy of contemporary feminist theatre. These plays use Gothic themes, imaGes, and conventions to challenGe dominant patriarchal ideologies in the postcolonial cultures of England, Australia, Canada, and the USA. The playwriGhts primarily studied in this regard are Beatrix Christian, Judith Thompson, Connie Gault, Alma De Groen, Caryl Churchill, Suzan-Lori Parks, Liz Lochhead, Adrienne Kennedy, Sarah Kane, and The Five Lesbian Brothers. AnalyzinG this significant body of work, I arGue for the presence of a Gothic mode across a range of plays that are variously consciously Gothic (in that they take known Gothic texts as intertexts), evocatively Gothic (in that they present an accumulation of tropes, imaGes and conventions recoGnizable from earlier Gothic novels and examined in extant Gothic scholarship), or that use the Gothic as a siGnificant dramaturGical strateGy that interrupts and (re)frames the play’s narrative and meaninG.
    [Show full text]
  • Macbeth You Idiot Using Classic Texts in the EFL Classroom
    Ma cb eth You Idiot Using Classic Texts in the EFL Classroom Don Henderson doi:10.7575/aiac.alls.v.1n.1p.116 Introduction The teaching of literature in English language classes is an issue that can draw mixed reactions from English language teachers. rized some arguments often cited for not using English literature in language classes. One of those arguments was the belief that English literature teaching required a zealous adherence to canonised classic texts. In arguing his case for the teaching of This literature is mainly Clap Hands, Here Comes Charlie Weekend. The novels included are both based on recent films with strong young adult appeal; Billy Elliot by Melvin Burgess & Bend it like Beckham by Narinder Dhami. 116 Peter Francis and Mary Thomas (2010) echo this support for the use of more classrooms. They cite Reed (1994) in asserting that most young adults prefer to read texts written specifically for a young adult audience and featuring young adult characters dealing with young adult issues. As a writer of young adult fiction and a regular observer of young adult readers, I thoroughly agree. The above examples highlight the fact that the trend towards using more literature in EFL classrooms has been largely based on what John McRae (1994) describes characteriz literature of the English canon. Such dichotomies are often dangerous as they can My advocacy for the use of m challenge some of the negative thinking around the use of classic literature in EFL classrooms. Classic literature if used appropriately can be a very useful resource for EFL teachers.
    [Show full text]
  • Understanding Shakespeare's Language and Thought Through the Use of Similes and Metaphors
    Elm və İnnovativ Texnologiyalar Jurnalı Nömrə 8, 2019. 8- 25 DOI: 10.5782/2616-4418.8.2019.8 UNDERSTANDING SHAKESPEARE’S LANGUAGE AND THOUGHT THROUGH THE USE OF SIMILES AND METAPHORS Mihaela CULEA Vasile Alecsandri University of Bacău, Romania Andreia-Irina SUCIU Vasile Alecsandri University of Bacău, Romania 1. Introduction William Shakespeare (1564–1616), the Bard of Avon, is commonly acknowledged as England’s greatest writer (playwright and poet) of all time. Shakespeare is an iconic symbol of English and, by extension, British identity. While sketching the portrait of the English, Jeremy Paxman (2007) recognizes Shakespeare as a crucial icon of Englishness, perhaps given the existing tensions that have characterized relations between member states of the UK. However, by extension, he is an iconic personality of British identity, encapsulating the culmination of the literary achievement associated to the British nation. In April 2016, the 400th anniversary of Shakespeare’s death was celebrated. On this occasion, YouGov (a global public opinion and data company) conducted a survey among the British to see which of 8 Understanding Shakespeare’s language …. 9 Shakespeare’s plays are most read and popular today. Rivalling with contemporary writers, Shakespeare ranked third as most popular writer, below J.K. Rowling (Harry Potter) and Terry Pratchett (Discworld series). This result confirms Shakespeare’s enduring impact and significance over the centuries, despite the important temporal gap that separates the people of the twenty-first century from the ones of the Renaissance. Many of the themes in his works are still valid today, and the suggestive value of his language has retained its vigour and significance.
    [Show full text]
  • Institut Für Anglistik Und Amerikanistik Einzelheiten Zu Den Veranstaltungen Finden Sich in Den Anschlägen Am Schwarzen Brett, EF 50, 3
    Institut für Anglistik und Amerikanistik Einzelheiten zu den Veranstaltungen finden sich in den Anschlägen am Schwarzen Brett, EF 50, 3. Etage, Foyer, Gebäudeteil B; zu den amerikanistischen Veranstaltungen finden sich Anschläge in EF 50, Gebäudeteil D, Erdgeschoss, gegenüber von 0.406 Sommersemester 2013 Die Lehrveranstaltungen beginnen am 08.04.2013 und finden, wenn nicht anders angegeben, in der Emil-Figge-Straße 50 statt. Bitte auch auf aktuelle Änderungen achten, die unter www.iaawiki.tu-dortmund.de eingesehen werden können! Englische Sprachwissenschaft 1. STUDIENPHASE 154101 Linguistics II – Kurs A (2 PS) Mi 16:15 – 17:45 R. 0.220 Salzinger Modulzu- LEHRAMTSTUDI Angewandte Sprachwissenschaften/ ordnungen: ENGÄNGE: Angewandte Literatur-/Kulturwissenschaften BA LA: 301 MA LA LPO 2003 GHR: 2a SP1.Fach: 2a B.A.ALK: Gy/Ge: 2a SP2.Fach: 2a B.A.AS: Kern: 1c, Komp: 1b BK: 2a M.A.ALK: LPO 1994/2000: M.A.AS: LABG 2009 G: 302 HRG: 302 GyGe/BK: 302 SP: 302 154102 Linguistics II – Kurs B (2 PS) Mo 14:15 – 15:45 R. 3.208 Fabricius Modulzu- LEHRAMTSTUDI Angewandte Sprachwissenschaften/ ordnungen: ENGÄNGE: Angewandte Literatur-/Kulturwissenschaften BA LA: 301 MA LA: LPO 2003 GHR: 2a SP1.Fach: 2a B.A.ALK: Gy/Ge: 2a SP2.Fach: 2a B.A.AS: Kern: 1c, Komp: 1b BK: 2a M.A.ALK: LPO 1994/2000: M.A.AS: LABG 2009 G: 302 HRG: 302 GyGe/BK: 302 SP: 302 154103 Linguistics II – Kurs C (2 PS) Di 10:15 – 11:45 R. 3.206 Peters Modulzu- LEHRAMTSTUDI Angewandte Sprachwissenschaften/ ordnungen: ENGÄNGE: Angewandte Literatur-/Kulturwissenschaften BA LA: 301 MA LA: LPO 2003 GHR: 2a SP1.Fach: 2a B.A.ALK: Gy/Ge: 2a SP2.Fach: 2a B.A.AS: Kern: 1c, Komp: 1b BK: 2a M.A.ALK: LPO 1994/2000: M.A.AS: LABG 2009 G: 302 HRG: 302 GyGe/BK: 302 SP: 302 154104 Linguistics II – Kurs D (2 PS) Mi 16:15 – 17:45 R.
    [Show full text]
  • Ba (Hons) English and Creative Writing Level 4 Reading List Single and Joint Honours 2016–2017
    BA (HONS) ENGLISH AND CREATIVE WRITING LEVEL 4 READING LIST SINGLE AND JOINT HONOURS 2016–2017 Revised 30 IV MMXVI Your Degree Modules at a Glance LIT1001: Reading Literary Genres LIT1021: Creative Reading and Writing 1: Explorations LIT1024: Fiction 1: Here and Now LIT1025: Poetry 1: Sound and Shape LIT1028: Writing the Present: Post-War and Contemporary British Literature LIT1029: Nineteenth Century Literature LIT1033: Life, Liberty and Happiness: Introduction to American Literature LIT1035: Language and Creativity JOU1002: Introduction to Journalism Your Degree Modules Single Honours English LIT1001; LIT1021; LIT1028; LIT1029; LIT1033; LIT1035 Single Honours Creative Writing LIT1024; LIT1025; LIT1028, LIT1033; LIT1035; JOU1002 Joint Honours English and Creative Writing LIT1001; LIT1024; LIT1025; LIT1028; LIT1029; LIT1035 Joint Honours English (with any other subject) LIT1028; LIT1029; LIT1035 (and three modules from your other subject) Joint Honours Creative Writing (with any other subject) LIT1024; LIT1025; LIT1035 (and three modules from your other subject) LIT1001 Reading Literary Genres Meghann Hillier-Broadley Compulsory for Single Honours English Students Compulsory for Joint Honours English Students also studying Joint Honours Creative Writing (This module is NOT taken by Joint Honours English Students when studying ANY OTHER SUBJECT) Reading List: ‘The Lottery’ – Shirley Jackson ‘The Fall of the House of Usher’ – Edgar Allan Poe ‘The Tell-Tale Heart’ – Edgar Allan Poe ‘The Rats in the Walls’ – H.P. Lovecraft ‘The Call of Cthulhu’ – H.P. Lovecraft ‘A Sound of Thunder’ – Ray Bradbury ‘Flowers for Algernon’ (Short story) – Daniel Keys ‘Bloodchild’ – Octavia Butler ‘The Adventure of the Speckled Band’ – Arthur Conan Doyle The Lion, the Witch, and the Wardrobe – C.S.
    [Show full text]