Critical Vocabulary
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Charles Dickens, 'Hard Times' and Hyperbole Transcript
Charles Dickens, 'Hard Times' and Hyperbole Transcript Date: Tuesday, 15 November 2016 - 6:00PM Location: Museum of London 15 November 2016 Charles Dickens: Hard Times and Hyperbole Professor Belinda Jack As I said in my last lecture, ‘Rhetoric’ has a bad name. Phrases like ‘empty rhetoric’, ‘it’s just rhetoric’ and the like suggest that the main purpose of rhetoric is to deceive. This, of course, can be true. But rhetoric is also an ancient discipline that tries to make sense of how we persuade. Now we could argue that all human communication sets out to persuade. Even a simple rhetorical question as clichéd and mundane as ‘isn’t it a lovely day?’ could be said to have a persuasive element. So this year I want to explore the nuts and bolts of rhetoric in relation to a number of famous works of literature. What I hope to show is that knowing the terms of rhetoric helps us to see how literature works, how it does its magic, while at the same time arguing that great works of literature take us beyond rhetoric. They push the boundaries and render the schema of rhetoric too rigid and too approximate. In my first lecture in the new series we considered Jane Austen’s novel entitled Persuasion (1817/1818) – what rhetoric is all about – in relation to irony and narrative technique, how the story is told. I concluded that these two features of Austen’s last completed novel functioned to introduce all manner of ambiguities leaving the reader in a position of uncertainty and left to make certain choices about how to understand the novel. -
Stream of Consciousness: a Study of Selected Novels by James Joyce and Virginia Woolf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Italian translations of English stream of consciousness: a study of selected novels by James Joyce and Virginia Woolf Giulia Totò PhD The University of Edinburgh 2014 Declaration I hereby declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification except as specified. Giulia Totò iii To little Emma and Lucio, for the immense joy they spread and the love they allow me to return. iv Acknowledgments I am pleased to take this opportunity to thank my supervisors Federica G. Pedriali and Yves Gambier for their guidance and, most of all, for their support and patience during these years. -
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. -
Russo Georgetown 0076D 127
LIBROS DE BUEN HUMOR: UNDERSTANDING THE COMIC IN FOURTEENTH-CENTURY FRAME NARRATIVES A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Spanish By Maureen C. Russo, M.S. Washington, DC April 25, 2014 Copyright 2014 by Maureen C. Russo All Rights Reserved ii LIBROS DE BUEN HUMOR: UNDERSTANDING THE COMIC IN FOURTEENTH- CENTURY FRAME NARRATIVES Maureen C. Russo, M.S. Thesis Advisor: Dr. Emily C. Francomano, PhD. ABSTRACT This dissertation is a comparative study of the functions of humor in three fourteenth-century frame collections: the Iberian text, El Libro de buen amor, Boccaccio’s Decameron, and Chaucer’s The Canterbury Tales. With the Libro de buen amor as the backbone of my investigation, I isolate several specific comic trends present across the three texts, identifying the nuances of their function and analyzing their relationship to other intersecting elements such as hermeneutics, parody, didacticism and reception. This study is the first piece of scholarship to treat all three of these canonical collections side-by-side for an in-depth examination of their humor. Humor is an essential element in each collection as well as an important commonality among them, but it is also one of the most complex themes for critical treatment. The way in which the comic functions in narrative discourse is at once central to self-expression and yet also impossible to fully theorize or describe. In order to manage the vastness of my project, I have focused my investigation on several very specific comic modes so that I may examine their roles in-depth and trace their functions across each collection. -
Birdsong in the Music of Olivier Messiaen a Thesis Submitted To
P Birdsongin the Music of Olivier Messiaen A thesissubmitted to MiddlesexUniversity in partial fulfilment of the requirementsfor the degreeof Doctor of Philosophy David Kraft School of Art, Design and Performing Arts Nfiddlesex University December2000 Abstract 7be intentionof this investigationis to formulatea chronologicalsurvey of Messiaen'streatment of birdsong,taking into accountthe speciesinvolved and the composer'sevolving methods of motivic manipulation,instrumentation, incorporation of intrinsic characteristicsand structure.The approachtaken in this studyis to surveyselected works in turn, developingappropriate tabular formswith regardto Messiaen'suse of 'style oiseau',identified bird vocalisationsand eventhe frequentappearances of musicthat includesfamiliar characteristicsof bird style, althoughnot so labelledin the score.Due to the repetitivenature of so manymotivic fragmentsin birdsong,it has becomenecessary to developnew terminology and incorporatederivations from other research findings.7be 'motivic classification'tables, for instance,present the essentialmotivic featuresin somevery complexbirdsong. The studybegins by establishingthe importanceof the uniquemusical procedures developed by Messiaen:these involve, for example,questions of form, melodyand rhythm.7he problemof is 'authenticity' - that is, the degreeof accuracywith which Messiaenchooses to treat birdsong- then examined.A chronologicalsurvey of Messiaen'suse of birdsongin selectedmajor works follows, demonstratingan evolutionfrom the ge-eralterm 'oiseau' to the preciseattribution -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Lost Pigs and Broken Genes: The search for causes of embryonic loss in the pig and the assembly of a more contiguous reference genome Amanda Warr A thesis submitted for the degree of Doctor of Philosophy at the University of Edinburgh 2019 Division of Genetics and Genomics, The Roslin Institute and Royal (Dick) School of Veterinary Studies, University of Edinburgh Declaration I declare that the work contained in this thesis has been carried out, and the thesis composed, by the candidate Amanda Warr. Contributions by other individuals have been indicated throughout the thesis. These include contributions from other authors and influences of peer reviewers on manuscripts as part of the first chapter, the second chapter, and the fifth chapter. Parts of the wet lab methods including DNA extractions and Illumina sequencing were carried out by, or assistance was provided by, other researchers and this too has been indicated throughout the thesis. -
Literary Terms Definition Example Example from Class Poetry Alliteration: a Number of Words, Having a Big Bully Beats a Baby Boy
Name: ______________________________________ Poetry Unit: Literary Terms Definition Example Example from Class Poetry Alliteration: a number of words, having A big bully beats a baby boy. the same first consonant sound, occur close together in a series Assonance: takes place when two or Men sell wedding bells. more words, close to one another repeat the same vowel sound, but start with different consonant sounds. Blank Verse: un-rhyming verse written in The dreams are clues that tell iambic pentameter. In poetry and prose, it has a consistent meter with 10 syllables in us take chances. each line (pentameter); where, unstressed syllables are followed by stressed ones, five of which are stressed but do not rhyme. Consonance: repetitive sounds Behind Me -- dips Eternity -- produced by consonants Before Me -- Immortality -- Myself -- the Term between -- within a sentence or phrase Death but the Drift of Eastern Gray, Dissolving into Dawn away, Before the West begin -- Couplet: having two successive rhyming “The time is out of joint, O cursed spite lines in a verse, and has the same meter to That ever I was born to set it right!” form a complete thought. Foot: combination of stressed and Example of Iambic Pentameter: Iamb: unstressed syllables. there are various Combination of unstressed and stressed types of foot, each of which sounds syllable – (daDUM) differently Free Verse: poems have no regular meter or rhythm. They do not follow a proper After the Sea-Ship by Walt Whitman rhyme scheme; these poems do not have After the Sea-Ship—after the whistling any set rules. winds; After the white-gray sails, taut to their spars and ropes, Below, a myriad, myriad waves, hastening, lifting up their necks, Tending in ceaseless flow toward the track of the ship. -
Women in Geoffrey Chaucer's the Canterbury Tales: Woman As A
1 Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Vladislava Vaněčková Women in Geoffrey Chaucer's The Canterbury Tales: Woman as a Narrator, Woman in the Narrative Master's Diploma Thesis Supervisor: Doc. Milada Franková, Csc., M.A. 2007 2 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ¼¼¼¼¼¼¼¼¼¼¼¼¼¼¼¼¼.. 3 Table of Contents 1. Introduction 4 2. Medieval Society 7 2.1 Chaucer in His Age 9 2.2 Chaucer's Pilgrims 11 3. Woman as a Narrator: the Voiced Silence of the Female Pilgrims 15 3.1 The Second Nun 20 3.2 The Prioress 27 3.3 The Wife of Bath 34 4. Woman in Male Narratives: theIdeal, the Satire, and Nothing in Between 50 4.1 The Knight's Tale, the Franklin's Tale: the Courtly Ideal 51 4.1.1 The Knight's Tale 52 4.1.2 The Franklin's Tale 56 4.2 The Man of Law's Tale, the Clerk's Tale: the Christian Ideal 64 4.2.1 The Man of Law's Tale 66 4.2.2 The Clerk's Tale 70 4.3 The Miller's Tale, the Shipman's Tale: No Ideal at All 78 4.3.1 The Miller's Tale 80 4.3.2 The Shipman's Tale 86 5. Conclusion 95 6. Works Cited and Consulted 100 4 1. Introduction Geoffrey Chaucer is a major influential figure in the history of English literature. His The Canterbury Tales are read and reshaped to suit its modern audiences. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
Glossary of Literary Terms
Glossary of Critical Terms for Prose Adapted from “LitWeb,” The Norton Introduction to Literature Study Space http://www.wwnorton.com/college/english/litweb10/glossary/C.aspx Action Any event or series of events depicted in a literary work; an event may be verbal as well as physical, so that speaking or telling a story within the story may be an event. Allusion A brief, often implicit and indirect reference within a literary text to something outside the text, whether another text (e.g. the Bible, a myth, another literary work, a painting, or a piece of music) or any imaginary or historical person, place, or thing. Ambiguity When we are involved in interpretation—figuring out what different elements in a story “mean”—we are responding to a work’s ambiguity. This means that the work is open to several simultaneous interpretations. Language, especially when manipulated artistically, can communicate more than one meaning, encouraging our interpretations. Antagonist A character or a nonhuman force that opposes, or is in conflict with, the protagonist. Anticlimax An event or series of events usually at the end of a narrative that contrast with the tension building up before. Antihero A protagonist who is in one way or another the very opposite of a traditional hero. Instead of being courageous and determined, for instance, an antihero might be timid, hypersensitive, and indecisive to the point of paralysis. Antiheroes are especially common in modern literary works. Archetype A character, ritual, symbol, or plot pattern that recurs in the myth and literature of many cultures; examples include the scapegoat or trickster (character type), the rite of passage (ritual), and the quest or descent into the underworld (plot pattern). -
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. -
Hagbimilan2.Pdf
«The Holy Letters Had Never Joined into Any Name as Mine» Notes on the Name of the Author in Agnon’s Work1 Yaniv Hagbi University of Amsterdam 1. Nomen est Omen As the famous Latin proverb testifies, the correlation between characters’ names and their nature, occupation, destiny or history is a literary trope very common in world-literature. It is known at least since the Bible. Abraham received his name because God is going to make him «the father of multitudes» or in Hebrew “av hamon goyim” (Gen. 17:5). Pharos’ daughter’s (surprisingly) good command of the language of the slaves, enabled her to name her Hebrew foundling, Moshe, saying, “I drew him out of the water (meshitihu)”» (Ex. 2:10).2 As one may presume this literary tool is only part of larger literary device. Proper names, i.e. not only persons’ names but all names of specific objects such as places, plants, animals etc., can bear literary aesthetic value. That latter, broader phenomenon is also known as onomastics (literary onomastics). The narrower manifestation of that phenomenon, with which we started, i.e. the relationship between a name and its human bearers, might be dubbed as anthropo-onomastics or anthroponym.3 It is of no surprise that the use of that trope is very common in the work of Shmuel Yosef Agnon (Tchatchkes) (1888-1970), an author well-versed in both Jewish literature and thought, as well as in world-literature.4 In the following article we shall see several unique uses Agnon makes in that trope while trying to account for possible reasons lying at the core of his poetical worldview.