Master List of Terms Tested Literary Criticism 2009-2015 Last Updated 12 July 2015
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The American Postdramatic Television Series: the Art of Poetry and the Composition of Chaos (How to Understand the Script of the Best American Television Series)”
RLCS, Revista Latina de Comunicación Social, 72 – Pages 500 to 520 Funded Research | DOI: 10.4185/RLCS, 72-2017-1176| ISSN 1138-5820 | Year 2017 How to cite this article in bibliographies / References MA Orosa, M López-Golán , C Márquez-Domínguez, YT Ramos-Gil (2017): “The American postdramatic television series: the art of poetry and the composition of chaos (How to understand the script of the best American television series)”. Revista Latina de Comunicación Social, 72, pp. 500 to 520. http://www.revistalatinacs.org/072paper/1176/26en.html DOI: 10.4185/RLCS-2017-1176 The American postdramatic television series: the art of poetry and the composition of chaos How to understand the script of the best American television series Miguel Ángel Orosa [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Mónica López Golán [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – moLó[email protected] Carmelo Márquez-Domínguez [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador Sede Ibarra, Ecuador) – camarquez @pucesi.edu.ec Yalitza Therly Ramos Gil [CV] [ ORCID] [ GS] Professor at the School of Social Communication. Pontificia Universidad Católica del Ecuador (Sede Ibarra, Ecuador) – [email protected] Abstract Introduction: The magnitude of the (post)dramatic changes that have been taking place in American audiovisual fiction only happen every several hundred years. The goal of this research work is to highlight the features of the change occurring within the organisational (post)dramatic realm of American serial television. -
Nietzsche and Aestheticism
University of Chicago Law School Chicago Unbound Journal Articles Faculty Scholarship 1992 Nietzsche and Aestheticism Brian Leiter Follow this and additional works at: https://chicagounbound.uchicago.edu/journal_articles Part of the Law Commons Recommended Citation Brian Leiter, "Nietzsche and Aestheticism," 30 Journal of the History of Philosophy 275 (1992). This Article is brought to you for free and open access by the Faculty Scholarship at Chicago Unbound. It has been accepted for inclusion in Journal Articles by an authorized administrator of Chicago Unbound. For more information, please contact [email protected]. Notes and Discussions Nietzsche and Aestheticism 1o Alexander Nehamas's Nietzsche: L~fe as Literature' has enjoyed an enthusiastic reception since its publication in 1985 . Reviewed in a wide array of scholarly journals and even in the popular press, the book has won praise nearly everywhere and has already earned for Nehamas--at least in the intellectual community at large--the reputation as the preeminent American Nietzsche scholar. At least two features of the book may help explain this phenomenon. First, Nehamas's Nietzsche is an imaginative synthesis of several important currents in recent Nietzsche commentary, reflecting the influence of writers like Jacques Der- rida, Sarah Kofman, Paul De Man, and Richard Rorty. These authors figure, often by name, throughout Nehamas's book; and it is perhaps Nehamas's most important achievement to have offered a reading of Nietzsche that incorporates the insights of these writers while surpassing them all in the philosophical ingenuity with which this style of interpreting Nietzsche is developed. The high profile that many of these thinkers now enjoy on the intellectual landscape accounts in part for the reception accorded the "Nietzsche" they so deeply influenced. -
Art for Art's Sake: a Literary Luxury Or a Contemporaneous Need?
International Journal of Language and Literature December 2018, Vol. 6, No. 2, pp. 182-187 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v6n2a27 URL: https://doi.org/10.15640/ijll.v6n2a27 Art for Art’s Sake: A Literary Luxury or a Contemporaneous Need? Dr. Mohamad Haj Mohamad1 & Dr. Nadia Hamendi2 Abstract The dichotomy of art for art‘s sake and art for society‘s sake became a pressing concern in the Victorian period due to the pressure from government to use art as a means for championing its causes and aspirations, leaving artists feeling the need to redefine the identity and objectives of art. Believing in art as serving the creation only of beauty for its own sake led to the emergence and rise of art for art‘s sake, a movement that felt that art stripped of its true aesthetical values would suffer as a result. Art for art's sake is an assertion of the value of art away from any moral or didactic objectives, a process that adds a mask of luxury to literature. This paper traces the movement of art for art‘s sake, looking at its main figures from across Europe. It poses the question of whether art is supposed to moralize and teach or devote itself to the creation and championing of the cause of beauty and idealism. Believing that art had declined in an era of utility and rationalism, rebellion against Victorian middle class moral standards was unavoidable. -
Metaphysical Poetry
METAPHYSICAL POETRY Metaphysical poetry is a group of poems that share common characteristics: they are all highly intellectualized, use rather strange imagery, use frequent paradox and contain extremely complicated thought. Literary critic and poet Samuel Johnson first coined the term 'metaphysical poetry' in his book Lives of the Most Eminent English Poets (1179-1781). In the book, Johnson wrote about a group of 17th-century British poets that included John Donne, George Herbert, Richard Crashaw, Andrew Marvell and Henry Vaughan. He noted how the poets shared many common characteristics, especially ones of wit and elaborate style. What Does Metaphysical Mean? The word 'meta' means 'after,' so the literal translation of 'metaphysical' is 'after the physical.' Basically, metaphysics deals with questions that can't be explained by science. It questions the nature of reality in a philosophical way. • Here are some common metaphysical questions: • Does God exist? • Is there a difference between the way things appear to us and the way they really are? Essentially, what is the difference between reality and perception? • Is everything that happens already predetermined? If so, then is free choice non-existent? • Is consciousness limited to the brain? Metaphysics can cover a broad range of topics from religious to consciousness; however, all the questions about metaphysics ponder the nature of reality. And of course, there is no one correct answer to any of these questions. Metaphysics is about exploration and philosophy, not about science and math. CHARACTERISTICS OF METAPHYSICAL POETRY • The group of metaphysical poets that we mentioned earlier is obviously not the only poets or philosophers or writers that deal with metaphysical questions. -
University Interscholastic League Literary Criticism Contest • Invitational a • 2021
University Interscholastic League Literary Criticism Contest • Invitational A • 2021 Part 1: Knowledge of Literary Terms and of Literary History 30 items (1 point each) 1. A line of verse consisting of five feet that char- 6. The repetition of initial consonant sounds or any acterizes serious English language verse since vowel sounds in successive or closely associated Chaucer's time is known as syllables is recognized as A) hexameter. A) alliteration. B) pentameter. B) assonance. C) pentastich. C) consonance. D) tetralogy. D) resonance. E) tetrameter. E) sigmatism. 2. The trope, one of Kenneth Burke's four master 7. In Greek mythology, not among the nine daugh- tropes, in which a part signifies the whole or the ters of Mnemosyne and Zeus, known collectively whole signifies the part is called as the Muses, is A) chiasmus. A) Calliope. B) hyperbole. B) Erato. C) litotes. C) Polyhymnia. D) synecdoche. D) Urania. E) zeugma. E) Zoe. 3. Considered by some to be the most important Irish 8. A chronicle, usually autobiographical, presenting poet since William Butler Yeats, the poet and cele- the life story of a rascal of low degree engaged brated translator of the Old English folk epic Beo- in menial tasks and making his living more wulf who was awarded the 1995 Nobel Prize for through his wit than his industry, and tending to Literature is be episodic and structureless, is known as a (n) A) Samuel Beckett. A) epistolary novel. B) Seamus Heaney. B) novel of character. C) C. S. Lewis. C) novel of manners. D) Spike Milligan. D) novel of the soil. -
Artist's Statement
Decline And Fall Mark Bernstein Eastgate Systems, Inc. 134 Main Street Watertown MA 02472 USA +1 617 924 9044 [email protected] Potboilers and page-turners may not, indeed, have been the 1. ABSTRACT most pressing concern of literary hypertext, but a generation has now passed. The summer is over, and we Decline and Fall is a new Storyspace hypertext fiction, a school story based loosely on The Trojan Women. It sets out to be an cannot say with great confidence that we know how to exciting hypertext, a potboiler: a hypertext in which things write an exciting hypertext that is not a game. Games are happen, while remaining within the tradition of literary hypertext. fine things, but their excitement substantially stems from the reader’s agency (however problematized) and the CCS Concepts promise (however symbolic) that one might win. Decline and Fall is not a game, at least not beyond the extent to ➝ • Software and its engineering Software creation and which any storyteller and any self-aware reader can be said management ➝ Designing Software • Applied Computing ➝ Computers in other domains. to be playing a game [11]. The plot (that is, the way the underlying story is told) is likely to be different in each Keywords reading, but we begin roughly where The Trojan Women begins, after the fall of Troy1. The reader has no agency in Storyspace, hypertext, hypermedia, literature, fiction, education, design, implementation, support, history of the story world. No man and no god could prevent that fall, computing, maps, links. nor can all your piety and wit cheer up Cassandra or rescue Polyxena, soon to be the bride of dead Achilles. -
WORDSWORTH's GOTHIC POETICS by ROBERT J. LANG a Thesis
WORDSWORTH’S GOTHIC POETICS BY ROBERT J. LANG A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS English December 2012 Winston-Salem, North Carolina Approved By: Eric Wilson, Ph.D., Advisor Philip Kuberski, Ph.D., Chair Omaar Hena, Ph.D. TABLE OF CONTENTS ABSTRACT ....................................................................................................................... iii CHAPTER 1 ........................................................................................................................1 CHAPTER 2 ........................................................................................................................8 CHAPTER 3 ......................................................................................................................27 CHAPTER 4 ......................................................................................................................45 CONCLUSION ..................................................................................................................65 WORKS CITED ................................................................................................................70 VITA ..................................................................................................................................75 ii ABSTRACT Wordsworth’s poetry is typically seen by critics as healthy-minded, rich in themes of transcendence, synthesis, -
Poetry Vocabulary
Poetry Vocabulary Alliteration: Definition: •The repetition of consonant sounds in words that are close together. •Example: •Peter Piper picked a peck of pickled peppers. How many pickled peppers did Peter Piper pick? Assonance: Definition: •The repetition of vowel sounds in words that are close together. •Example: •And so, all the night-tide, I lie down by the side Of my darling, my darling, my life and my bride. -Edgar Allen Poe, from “Annabel Lee” Ballad: Definition: •A song or songlike poem that tells a story. •Examples: •“The Dying Cowboy” • “The Cremation of Sam McGee” Cinquain: Definition: • A five-line poem in which each line follows a rule. 1. A word for the subject of the poem. 2. Two words that describe it. 3. Three words that show action. 4. Four words that show feeling. 5. The subject word again-or another word for it. End rhyme: Definition: • Rhymes at the ends of lines. • Example: – “I have to speak-I must-I should -I ought… I’d tell you how I love you if I thought The world would end tomorrow afternoon. But short of that…well, it might be too soon.” The end rhymes are ought, thought and afternoon, soon. Epic: Definition: • A long narrative poem that is written in heightened language and tells stories of the deeds of a heroic character who embodies that values of a society. • Example: – “Casey at the Bat” – “Beowulf” Figurative language: Definition: • An expressive use of language. • Example: – Simile – Metaphor Form: Definition: • The structure and organization of a poem. Free verse: Definition: • Poetry without a regular meter or rhyme scheme. -
Examining the Relationship Between Children's
A Spoonful of Silly: Examining the Relationship Between Children’s Nonsense Verse and Critical Literacy by Bonnie Tulloch B.A., (Hons), Simon Fraser University, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Children’s Literature) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2015 © Bonnie Tulloch, 2015 Abstract This thesis interrogates the common assumption that nonsense literature makes “no sense.” Building off research in the fields of English and Education that suggests the intellectual value of literary nonsense, this study explores the nonsense verse of several North American children’s poets to determine if and how their play with language disrupts the colonizing agenda of children’s literature. Adopting the critical lenses of Translation Theory and Postcolonial Theory in its discussion of Dr. Seuss’s On Beyond Zebra! (1955) and I Can Read with My Eyes Shut! (1978), along with selected poems from Shel Silverstein’s Where the Sidewalk Ends (1974), A Light in the Attic (1981), Runny Babbit (2005), Dennis Lee’s Alligator Pie (1974), Nicholas Knock and Other People (1974), and JonArno Lawson’s Black Stars in a White Night Sky (2006) and Down in the Bottom of the Bottom of the Box (2012), this thesis examines how the foreignizing effect of nonsense verse exposes the hidden adult presence within children’s literature, reminding children that childhood is essentially an adult concept—a subjective interpretation (i.e., translation) of their lived experiences. Analyzing the way these poets’ nonsense verse deviates from cultural norms and exposes the hidden adult presence within children’s literature, this research considers the way their poetry assumes a knowledgeable implied reader, one who is capable of critically engaging with the text. -
The Ancient Mariner and Parody
Loyola University Chicago Loyola eCommons English: Faculty Publications and Other Works Faculty Publications 8-1999 ‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody Steven Jones [email protected] Follow this and additional works at: https://ecommons.luc.edu/english_facpubs Part of the English Language and Literature Commons Recommended Citation Steven E. Jones, “‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody," Romanticism on the Net, 15 (August 1999). This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in English: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Michael Eberle-Sinatra 1996-2006. 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody | Érudit | Romanticism on the Net n15 1999 | 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody [*] Steven E. Jones Loyola University Chicago 1 An ancient literary practice often aligned with satire, parody "comes of age as a major comic expression during the Romantic period," as Marilyn Gaull has observed, the same era that celebrated and became known for the literary virtues of sincerity, authenticity, and originality. [1] Significant recent anthologies of Romantic-period parodies make the sheer bulk and topical range of such imitative works available for readers and critics for the first time, providing ample evidence for the prominence of the form. [2] The weight of evidence in these collections should also put to rest the widespread assumption that parody is inevitably "comic" or gentler than satire, that it is essentially in good fun. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Sustainable Development As Deus Ex Machina
Biological Conservation 209 (2017) 54–61 Contents lists available at ScienceDirect Biological Conservation journal homepage: www.elsevier.com/locate/bioc Discussion Sustainable development as deus ex machina Claudio Campagna a,b,⁎,DanielGuevarac, Bernard Le Boeuf d a Wildlife Conservation Society, Marine and Argentina Programs, Amenábar 1595, 1426 Buenos Aires, Argentina b Department of Ecology and Evolutionary Biology, University of California, Santa Cruz, California 95064, United States c Department of Philosophy, University of California, Santa Cruz, California 95064, United States d Department of Ecology and Evolutionary Biology, Institute for Marine Sciences, University of California, Santa Cruz, California 95064, United States article info abstract Article history: The advocacy of sustainable development (SD) by governments, NGOs and scientists over the last three decades Received 3 August 2016 has failed to diminish the alarming species extinction rate fueled by overuse and habitat destruction. Attempts to Received in revised form 9 January 2017 satisfy worldwide demands for economic growth and development have, in fact, thwarted conservation efforts Accepted 25 January 2017 and greatly diminished the diversity and abundance of life forms, including key iconic species. Here, we argue Available online xxxx that this crisis is one of values rooted in a discourse that justifies development and downplays the morality of human-caused extinction of life forms. The language of SD does not convey the loss—worse, it masks or rational- Keywords: Language izes it as blameless or necessary. The language of SD represents the loss in biodiversity as fallout from the reduced Conservation discourse capacity of ecosystems to provide services for human benefit, while providing no sense of the values necessary Species crisis for conserving life for its own sake.