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Problems of Mimetic Characterization in Dostoevsky and Tolstoy
Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy By Chloe Susan Liebmann Kitzinger A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irina Paperno, Chair Professor Eric Naiman Professor Dorothy J. Hale Spring 2016 Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy © 2016 By Chloe Susan Liebmann Kitzinger Abstract Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy by Chloe Susan Liebmann Kitzinger Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Irina Paperno, Chair This dissertation focuses new critical attention on a problem central to the history and theory of the novel, but so far remarkably underexplored: the mimetic illusion that realist characters exist independently from the author’s control, and even from the constraints of form itself. How is this illusion of “life” produced? What conditions maintain it, and at what points does it start to falter? My study investigates the character-systems of three Russian realist novels with widely differing narrative structures — Tolstoy’s War and Peace (1865–1869), and Dostoevsky’s The Adolescent (1875) and The Brothers Karamazov (1879–1880) — that offer rich ground for exploring the sources and limits of mimetic illusion. I suggest, moreover, that Tolstoy and Dostoevsky themselves were preoccupied with this question. Their novels take shape around ambitious projects of characterization that carry them toward the edges of the realist tradition, where the novel begins to give way to other forms of art and thought. -
Inflationary and Deflationary Characterization in the Novels of Ayi Kwei Armah
CORE Metadata, citation and similar papers at core.ac.uk Provided by International Institute for Science, Technology and Education (IISTE): E-Journals Research on Humanities and Social Sciences www.iiste.org ISSN 2222-1719 (Paper) ISSN 2222-2863 (Online) Vol.3, No.17, 2013 Inflationary and Deflationary Characterization in the Novels of Ayi Kwei Armah Peace Ibala Amala Ph.D. Department of English, Ignatius Ajuru University of Education, Rumuolumeni, Port Harcourt, Rivers State, Nigeria. Abstract It is a truism of course, that much of the pleasure of contemporary readers comes from the study of characters. For every literary work is an artistic response of the perception of man and his society. The purpose of this paper is to examine how Ayi Kwei Armah employs the Inflationary and deflationary technique of characterization which is shown to be his foremost stylistic method in his novels. Armah does so by revealing that his technique is a means of objective correlative, meaningful within the African society. Armah’s technique as this study reveals brings to the fore that characters who perpetrate corruption and the destructiveness inherent in the African continent are deflated. And morally upright characters are presented in the inflationary mode. Introduction It is common critical knowledge that the basis of fictional writingis character creation, perhaps nothing else. Characters not only add depth and complexity to the novels by giving readers perspectives of situations, but keep the readers engaged at all times. Armah is one of the African novelists that has continually captivated his readers for the experimental quality of his literary output (Wright 12, Obiechina 53, Folarin 117, Fraser ix ); the yardstick of experimentation in African fiction (Ogungbesan 68 ). -
Lapp 1 the Victorian Pseudonym and Female Agency Research Thesis
Lapp 1 The Victorian Pseudonym and Female Agency Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English in the undergraduate colleges of The Ohio State University by Anna Lapp The Ohio State University April 2015 Project Advisor: Professor Robyn Warhol, Department of English Lapp 2 Chapter One: The History of the Pseudonym Anonymity disguises information. For authors, disguised or changed names shrouds their circumstance and background. Pseudonyms, or pen names, have been famously used to disguise one’s identity. The word’s origin—pseudṓnymon—means “false name”. The nom de plume allows authors to conduct themselves without judgment attached to their name. Due to an author’s sex, personal livelihood, privacy, or a combination of the three, the pen name achieves agency through its protection. To consider the overall protection of the pseudonym, I will break down the components of a novel’s voice. A text is written by a flesh-and-blood, or actual, author. Second, an implied author or omnipresent figure of agency is present throughout the text. Finally, the narrator relates the story to the readers. The pseudonym offers freedom for the actual author because the author becomes two-fold—the pseudonym and the real person, the implied author and the actual author. The pseudonym can take the place of the implied author by acting as the dominant force of the text without revealing the personal information of the flesh-and-blood author. Carmela Ciuraru, author of Nom de Plume: A (Secret) History of Pseudonyms, claims, “If the authorial persona is a construct, never wholly authentic (now matter how autobiographical the material), then the pseudonymous writer takes this notion to yet another level, inventing a construct of a construct” (xiii-xiv). -
The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 8-2012 The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno Joseph Weiss DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Weiss, Joseph, "The idea of mimesis: Semblance, play, and critique in the works of Walter Benjamin and Theodor W. Adorno" (2012). College of Liberal Arts & Social Sciences Theses and Dissertations. 125. https://via.library.depaul.edu/etd/125 This Dissertation is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. The Idea of Mimesis: Semblance, Play, and Critique in the Works of Walter Benjamin and Theodor W. Adorno A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy October, 2011 By Joseph Weiss Department of Philosophy College of Liberal Arts and Sciences DePaul University Chicago, Illinois 2 ABSTRACT Joseph Weiss Title: The Idea of Mimesis: Semblance, Play and Critique in the Works of Walter Benjamin and Theodor W. Adorno Critical Theory demands that its forms of critique express resistance to the socially necessary illusions of a given historical period. Yet theorists have seldom discussed just how much it is the case that, for Walter Benjamin and Theodor W. -
A Critique of Patrick Chakaipa's 'Rudo Ibofu'
Journal of English and literature Vol. 2(1). pp. 1-9, January 2011 Available online http://www.academicjournals.org/ijel ISSN 2141-2626 ©2011 Academic Journals Review Epistemological and moral implications of characterization in African literature: A critique of Patrick Chakaipa’s ‘Rudo Ibofu’ (love is blind) Munyaradzi Mawere Department of Humanities, Universidade Pedagogica, Mozambique. E-mail: [email protected]. Accepted 26 November, 2010 This paper examines African epistemology and axiology as expressed in African literature through characterization, and it adopts the Zimbabwean Patrick Chakaipa’s novel, Rudo Ibofu as a case study. It provides a preliminary significance of characterization in Zimbabwean literature and by extension African literature before demonstrating how characterization has been ‘abused’ by some African writers since colonialism in Africa. The consequences are that a subtle misconstrued image of Africa can indirectly or directly be perpetuated within the academic settings. The Zimbabwean novel as one example of African literature that extensively employs characterization, it represents Africa. The mode of this work is reactionary in the sense that it is responding directly to trends identifiable in African literature spheres. The paper therefore is a contribution towards cultural revival and critical thinking in Africa where the wind of colonialism in the recent past has significantly affected the natives’ consciousness. In the light of the latter point, the paper provides a corrective to the western gaze that demonized Africa by advancing the view that Africans were without a history, worse still epistemological and moral systems. The paper thus criticizes, dismantles and challenges the inherited colonial legacies which have injured many African scientists and researchers’ consciousness; it is not only against the vestiges of colonialism, but of neo-colonialism and western cultural arrogance that have been perpetuated by some African writers through characterization. -
CHARACTERIZATION in FICTION HONORS THESIS Presented to The
CHARACTERIZATION IN FICTION HONORS THESIS Presented to the Honors Committee of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Jack Reams San Marcos, Texas May 2015 CHARACTERIZATION IN FICTION Thesis Supervisor: ________________________________ John M. Blair, Ph.D. Department of English Second Reader: __________________________________ Twister Marquiss, M.F.A Department of English Approved: ____________________________________ Heather C. Galloway, Ph.D. Dean, Honors College Table of Contents Abstract ................................................................................................................................1 Introduction ..........................................................................................................................2 P.A.R.T.S of Characterization .............................................................................................4 Direct Characterization ......................................................................................................15 Indirect Characterization ....................................................................................................30 Conclusion .........................................................................................................................43 Abstract The purpose of my thesis is to examine the importance of characterization in fiction, as well as the methods of characterization itself. The scope of the paper will be primarily limited to three works of -
Genre, Characterization, and Cognition
Chapter 1 Genre, Characterization, and Cognition 1 Genre Recognition and Character Cognition How do you recognize a detective story when you see one? Is it a constellation of expected features? A list of necessary elements? A “family resemblance” with other detective stories? Do the author’s intentions make it a detective story? Or is it a detective story for social and paratextual reasons—the publish- ing house, the jacket illustration, where it is shelved at a library or bookstore, the literary tastes of the friend who recommended it? Versions of all these ap- proaches have been used to theorize genre, both at the abstract, universal level and also in connection to specific cultures, places, and times. The proposition explored in this book is that generic connections are forged by readers attend- ing to what characters’ minds are doing—what characters are represented as wanting, thinking, and otherwise cogitating. Central to the detective story genre is a detective character that solves a mystery. Perhaps a corpse is discovered under suspicious circumstances; the authorities are engaged; the detective takes the case and works from hunches, inferences, and deduction to find and apprehend the culprit. The reader expe- riences the narrative by sharing in the initial confusion of the still-living char- acters, by following the detective’s reasoning process as he or she solves the case, and then celebrating vicariously when the perpetrator is identified and apprehended. My reader might now object that there are dozens of ways in which the schema just articulated fails to account for many detective stories. Potential variables are legion. -
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. -
Enhancing the Students' Rhetoric Attainments in Teaching of College
Sino-US English Teaching, July 2019, Vol. 16, No. 7, 300-305 doi:10.17265/1539-8072/2019.07.003 D DAVID PUBLISHING Enhancing the Students’ Rhetoric Attainments in Teaching of College English Intensive Reading ZHANG Rong-gen Shanghai Publishing and Printing College, Shanghai, China Beginning with various definitions of rhetoric, the paper gives a survey of some common English rhetoric figures found in College English intensive reading, such as metaphor, simile, transferred epithet, allusion, hyperbole, personification, metonymy, antithesis, onomatopoeia, double negative, inversion, rhetoric question, parady, transferred negation, and the like. By elaborating the functions of those rhetoric figures, the paper attempts to enhance the students’ rhetoric attainments and arouse their interest in learning English. Keywords: rhetoric attainments, rhetoric figures, College English teaching Introduction Some students often complain that the teaching of College English intensive reading course is so monotonous. It is really the case. How can a tasteless person feel his delicious food? And a certain rhetoric attainment is the prerequisite for the student to enjoy this “delicious food” of College English intensive reading course. The category of rhetoric is quite broad, one of which definitions is given by Aristotle as the art of public speaking by means of persuasion (Aristotle, 1954, pp. 2-12); and Hartwell extends the definition of rhetoric as the art of using words in speaking or writing (Hartwell & Bentley, 1982, pp. 1-15). That is to say, rhetoric contains both the art of public speaking and the method of composition. According to Chen Wangdao, a modern Chinese rhetorician, rhetoric includes both active rhetoric and passive rhetoric. -
Descriptive Writing.Pdf
Let's f)escribe Descriptive writing rto: of writing thar i i atempts ro share with the reader j": *n;; m u s, u s e w ord "; with*:i:,r.T* the color, #:j::: age, size, ::: s de a,i n g "::'":J::jshape, scent, sound,^:::rr9,i" materiar, ,""r".l,lttnllrlJTHrfi:ffi temperature' The use of descriptive words and phrases esting and gives rur.., the writing more inter- the reader a tetter understaniing of and settings' problems, characters, Descriptive writing makes the subjeJt.o.n.-utiu"."urnir, when this happens, easier for the readei to ;lffi"#:t become invotved with the characters unoit.i. Read the folrowing exampre of descriptive writing. Then answer the questions. My rittle brother Andrew had a very large, flrffy, brlc-k -{ white blaze dog. The dog,s name was decorated her forehead uno Murphy. onJorrr". r.gr.-uer shiny coat glistened. Murphy was^very smart. By the time she was one yelr_grd, Murphy was already weil things when instructed Her ravorit"iov ::il:lr:f;ffT;:;lrTjfl.iTf# 'u, a sort, red, Murphy tu'1very friendly doug' very quier and serdom tiiendliness' Murphy would lT :l barked or growred. In her t'n to uiyon" who came near. prayful pant leg or sleeve Murphy might tug on your if given the chance. rhor" who play' knew h", uno"rrtood that she just Strangers' however' were often wanted to frightened u, ,rr" ,igrr, ,r this.big, shaggy dog running at rrom this;;"d";:""t ffi'ilTl; lll;Ji3J,,??T::ifl**1iJ.",,l::?; '.'"; Murphy ivas l. -
Chapter Ii Literature Review and Conceptual Framework
CHAPTER II LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK This chapter attempts to discuss all literature related to the research. The discussion covers stylistics, figures of speech, function of figures of speech, and Coraline. Some related previous studies are also discussed as references for this research. Conceptual framework is given to show the system of ideas of this research. A. Theoretical Description 1. Stylistics According to Leech and Short (2007: 9) style refers to the way in which language is used in a given context, by a given person, for a given purpose. Style in a literary work such as a novel may show the writer‘s ‗thumbprint‘, a mark of the writer‘s habit in writing his work. For literary works, style can be used to reflect the genres, individuals, period, or language (Lehman, 1996: 303).A linguistic study upon style is called stylistics. Stylistics can also be a method of interpreting a text in which the most important thing for the study is assigned to language (Simpson, 2004: 2) Every analysis of style is an attempt to find the artistic principles underlying a writer‘s choice of language (Leech and Short, 2007: 69). All writers have their own individual qualities. One text may have certain features which made it special to gather its reader. That special feature may not be quite important or necessary on other text. Therefore, it needs different techniques to 32 33 analyze different texts. Researcher has to have consciousness towards analyzing the artistic effect using linguistic details that fit into the text. Then, it is useful to have a list of features which may or may not be significant in a given text to be analyzed. -
USA V. Ishmael Jones: Govt Motion to Name Defendant by Pseudonym
IN THE UNITED STATES DISTRICT COURT FILED FOR THE EASTERN DISTRICT OF VIRGINIA ALEXANDRIA DIVISION 2010 JUL -^ P 3s U"l UNITED STATES OF AMERICA, ) ) Civil Action No. Plaintiff, ) ) v. ) ) ISHMAEL JONES, a pen name, ) ) Defendant. ) PLAINTIFF UNITED STATES1 MOTION FOR IMMEDIATE RELIEF TO NAME DEFENDANT BY PSEUDONYM Plaintiff the United States, acting through undersigned counsel, moves the Court for an Order granting it permission to sue defendant by the pseudonym under which he published a book. Defendant is a former covert officer for the Central Intelligence Agency ("CIA") whose affiliation with the CIA remains classified. The United States requests permission to sue him in pseudonym to protect from public disclosure defendant's affiliation with the CIA. Consistent with this request, the United States also requests that the Court order that the parties and any third party who makes a filing in this case shall redact defendant's true name and any identifying information from all documents filed on the public record, and that service of the complaint be made by a Deputy United States Marshal. In support of this Motion, the attention of the Court is respectfully invited to the Memorandum filed herewith and Declaration of Ralph S. DiMaio, Information Review Officer, National Clandestine Service, Central Intelligence Agency, filed herewith. Dated: Respectfully Submitted, TONY WEST NEIL H. MACBRIDE Assistant Attorney General United States Attorney VINCENT M. GARVEY Deputy Branch Director Federal Programs Branch By: MARCIA BERMAN KEVIN J.MlKOLASHEK Senior Counsel Assistant United States Attorney Federal Programs Branch 2100 Jamieson Avenue U.S. Department of Justice Alexandria, VA 22314 20 Massachusetts Ave., N.W.