List of Literary Movements

Total Page:16

File Type:pdf, Size:1020Kb

List of Literary Movements List of Literary Movements Amatory fiction . Romantic fiction written in the 18th and 19th centuries. Notable authors: Eliza Haywood, Delarivier Manley Cavalier Poets . 17th century English royalist poets, writing primarily about courtly love, called Sons of Ben (after Ben Jonson). Notable authors: Richard Lovelace, William Davenant Metaphysical poets . 17th century English movement using extended conceit, often (though not always) about religion. Notable authors: John Donne, George Herbert, Andrew Marvell The Augustans . An 18th century literary movement based chiefly on classical ideals, satire and skepticism. Notable authors: Alexander Pope, Jonathan Swift Romanticism . 1800 to 1860 century movement emphasizing emotion and imagination, rather than logic and scientific thought. Response to the Enlightenment. Notable authors: Victor Hugo, Lord Byron and Camilo Castelo Branco Gothic novel . Fiction in which Romantic ideals are combined with an interest in the supernatural and in violence. Notable authors: Ann Radcliffe, Bram Stoker Lake Poets . A group of Romantic poets from the English Lake District who wrote about nature and the sublime. Notable authors: William Wordsworth, Samuel Taylor Coleridge American Romanticism . Distinct from European Romanticism, the American form emerged somewhat later, was based more in fiction than in poetry, and incorporated a (sometimes almost suffocating) awareness of history, particularly the darkest aspects of American history. Notable authors: Washington Irving, Nathaniel Hawthorne, Pre-Raphaelitism . 19th century, primarily English movement based ostensibly on undoing innovations by the painter Raphael. Many were both painters and poets. Notable authors: Dante Gabriel Rossetti, Christina Rossetti Transcendentalism . 19th century American movement: poetry and philosophy concerned with self-reliance, independence from modern technology. Notable authors: Ralph Waldo Emerson, Henry David Thoreau Dark romanticism . 19th century American movement in reaction to Transcendentalism. Finds man inherently sinful and self-destructive and nature a dark, mysterious force. Notable authors: Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, George Lippard Realism . Late-19th century movement based on a simplification of style and image and an interest in poverty and everyday concerns. Notable authors: Gustave Flaubert, William Dean Howells, Stendhal, Honoré de Balzac, Leo Tolstoy, Frank Norris and Eça de Queiroz Naturalism . Also late 19th century. Proponents of this movement believe heredity and environment control people. Notable authors: Émile Zola, Stephen Crane Symbolism . Principally French movement of the fin de siècle based on the structure of thought rather than poetic form or image; influential for English language poets from Edgar Allan Poe to James Merrill. Notable authors: Stéphane Mallarmé, Arthur Rimbaud, Paul Valéry Stream of consciousness . Early-20th century fiction consisting of literary representations of quotidian thought, without authorial presence. Notable authors: Virginia Woolf, James Joyce Modernism . Variegated movement of the early 20th century, encompassing primitivism, formal innovation, or reaction to science and technology. Notable authors: Ezra Pound, T. S. Eliot, H.D., James Joyce, Gertrude Stein and Fernando Pessoa The Lost Generation . It was traditionally attributed to Gertrude Stein and was then popularized by Ernest Hemingway in the epigraph to his novel The Sun Also Rises, and his memoir A Moveable Feast. It refers to a group of American literary notables who lived in Paris and other parts ofEurope from the time period which saw the end of World War I to the beginning of the Great Depression. Notable Authors: F. Scott Fitzgerald, Ernest Hemingway, Ezra Pound, Waldo Pierce Dada . Touted by its proponents as anti-art, dada focused on going against artistic norms and conventions. Notable authors: Guillaume Apollinaire, Kurt Schwitters First World War Poets . Poets who documented both the idealism and the horrors of the war and the period in which it took place. Notable authors: Siegfried Sassoon, Rupert Brooke Stridentism . Mexican artistic avant-garde movement. They exalted modern urban life and social revolution. Notable authors: Manuel Maples Arce, Arqueles Vela, Germán List Arzubide Los Contemporáneos . A Mexican vanguardist group, active in the late 1920s and early 1930s; published an eponymous literary magazine which served as the group's mouthpiece and artistic vehicle from 1928-1931. Notable authors: Xavier Villaurrutia, Salvador Novo Imagism . Poetry based on description rather than theme, and on the motto, "the natural object is always the adequate symbol." . Notable authors: Ezra Pound, H.D., Richard Aldington Harlem Renaissance . African American poets, novelists, and thinkers, often employing elements of blues and folklore, based in the Harlem neighborhood ofNew York City in the 1920s. Notable authors: Langston Hughes, Zora Neale Hurston Surrealism . Originally a French movement, influenced by Surrealist painting, that uses surprising images and transitions to play off of formal expectations and depict the unconscious rather than conscious mind. Notable authors: Jean Cocteau, Dylan Thomas Southern Agrarians . A group of Southern American poets, based originally at Vanderbilt University, who expressly repudiated many modernist developments in favor of metrical verse and narrative. Some Southern Agrarians were also associated with the New Criticism. Notable authors: John Crowe Ransom, Robert Penn Warren Oulipo . Mid-20th century poetry and prose based on seemingly arbitrary rules for the sake of added challenge. Notable authors: Raymond Queneau, Walter Abish Postmodernism . Postwar movement skeptical of absolutes and embracing diversity, irony, and word play. Notable authors: Jorge Luis Borges, Thomas Pynchon, Alasdair Gray Black Mountain Poets . A self-identified group of poets, originally based at Black Mountain College, who eschewed patterned form in favor of the rhythms and inflections of the human voice. Notable authors: Charles Olson, Denise Levertov Beat poets . American movement of the 1950s and 1960s concerned with counterculture and youthful alienation. Notable authors: Jack Kerouac, Allen Ginsberg, William S. Burroughs, Ken Kesey Hungryalist Poets . A literary movement in postcolonial India (Kolkata) during 1961-65 as a counter-discourse to Colonial Bengali poetry. Notable poets:Shakti Chattopadhyay, Malay Roy Choudhury, Binoy Majumdar, Samir Roychoudhury Confessional poetry . Poetry that, often brutally, exposes the self as part of an aesthetic of the beauty and power of human frailty. Notable authors: Robert Lowell, Sylvia Plath, Alicia Ostriker New York School . Urban, gay or gay-friendly, leftist poets, writers, and painters of the 1960s. Notable authors: Frank O'Hara, John Ashbery Magical Realism . Literary movement in which magical elements appear in otherwise realistic circumstances. Most often associated with the Latin American literary boom of the 20th century. Notable authors: Gabriel García Márquez, Octavio Paz, Günter Grass, Julio Cortázar Postcolonialism . A diverse, loosely connected movement of writers from former colonies of European countries, whose work is frequently politically charged. Notable authors: Jamaica Kincaid, V. S. Naipaul, Derek Walcott, Salman Rushdie, Giannina Braschi, Wole Soyinka Poetry is the expression of a thought, an idea, a concept or a story in a structured form which has a flow and a music created by the sounds and syllables in it. Acrostic: Acrostic poetry is one that contains certain letters, which are usually placed at the beginning of each line. These letters form a message or word when they are read in a sequence. Ballad: This type of poetry is short and narrative and is made up of stanzas of two to four lines. Ballads usually have a refrain. They also deal mostly with folklore or popular trends though some also originate from a wide range of subject matter. The verses in ballads are straight-forward and seldom have any detail. Apart from that, ballads always possess graphic simplicity and force. Blank Verse: A blank verse is written in unrhymed iambic pentameter. This form is a little like the rhythms of speech. Burlesque: In this kind of poetry a subject that is serious in nature is treated as humor. Cinquain: A cinquain is short poem that is made up of five lines that are usually unrhymed. These five lines contain two, four, six, eight and two syllables respectively. Clerihew: This type of poetry is made up of a comic verse that has two couplets and a specific rhyming scheme. Didactic Poetry: Didactic poems are poems that are written in order to instruct or teach. Epic: This type of poem is long and narrative in nature. It talks about the adventures of a hero. Epics usually deal with the history and traditions of a nation. Epigram: Practiced by poets like Robert Frost, William Blake and Ben Jonson, epigrams are short poems that possess satire. This type of poetry ends with a stinging punchline or humorous retort. Common forms of epigrams are written as a couplet. Epitaph: A short poem with rhyming lines written on a tombstone in praise of a deceased person is called an epitaph. Elegy: This type of poetry is sad and thoughtful in nature. They talk about the death of an individual. Free Verse: Like the name suggests, free verse is poetry that is irregular. This type of poetry has content which is free from the traditional rules of using verse. Ode: A poem that is written in praise of a place,
Recommended publications
  • Lucan, Poet of Freedom O. A. W. Dilke
    LUCAN, POET OF FREEDOM BY O. A. W. DILKE GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM INAUGURAL LECTURE DELIVERED AT RHODES UNIVERSITY BY O. A. W. DILKE PROFESSOR OF CLASSICS M .A. (Cantab.) GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM The Greek and Latin classics have been defended so often and so ably against the boisterous waves that have encroached upon them that to add one more apologia to the long list might result only in hackneyed platitudes. Within the last few years even the vestiges of compulsory Greek and Latin have dis­ appeared from the older seats of learning. However rigid a classical syllabus the Eton entrance scholarships may still demand, it can no longer be argued that an Arts Degree focused on non- classical subjects, let alone a degree in other Faculties, neces­ sitates a knowledge of prose composition in these languages. What our courses have lost in relative numbers since a genera­ tion ago we hope they have gained in interest, since they are no longer troubled with the student who is dragooned into Latin. And I do not consider it dragooning to insist that those who are study­ ing Roman-Dutch law shall be able to read a little Cicero in the original. But to exclude the classics except in Penguin translations from the University of York, for example, is an affront to Eboracum and to the shades of Alcuin, who in the eighth century was one of the greatest Latinists in the world. In the mid-twentieth century, the classicist can try to help the scientist to form his new compound words correctly, but let us hope he will not be relegated to this position.
    [Show full text]
  • Science and Criticism in Coleridge and Peirce
    ABDUCTING THE IMAGINATION: THE METHODOLOGICAL FOUNDATION OF SCIENCE AND CRITICISM IN COLERIDGE AND PEIRCE by Thomas Dechand A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October, 2014 © 2014 Thomas Dechand All Rights Reserved Abstract The core the dissertation examines S. T. Coleridge’s writings on method and imagination from the 1815 composition of Biographia Literaria through the publication of the “Essays on the Principles of Method” in the 1818 Friend. I demonstrate how these writings clarify, develop, and indeed repair Coleridge’s earlier theory of imagination by articulating its role within a general theory of inquiry meant to comprehend the works of science and literature as methodical investigations. Whereas the Biographia fails in its attempt to ground the imagination within a conception of the self as intellectually intuited in a manner conceived by German Idealists such as Schelling, Coleridge’s “Essays on Method” explore the imagination through a theory of inquiry predicated on the discovery, analysis, and contemplation of relations. I argue that Coleridge aligns the operation of the secondary imagination to a logical function: the eduction of an “idea,” according to Coleridge’s precise sense of that term as a necessarily tautegorical relation – one that expresses the same subject, but with a difference. It is ideas, so conceived, that serve to guide inquiry. Coleridge’s refinement of the theory of imagination is done in serve of his argument that ideas are “constitutive” -- that is, they play a fundamental role in what it is, internal to our constitution and that of the world, that enables inquiry in the first place -- and should be seen as part of Coleridge’s answer to what he identifies as the highest problem of philosophy in the 1816 Statesman’s Manual.
    [Show full text]
  • John Milton's Blank Verse and the Republican Spirit in Poetry
    Click here for Full Issue of Fidelio Volume 9, Number 1, Spring 2000 John Milton’s Blank Verse The Granger Collection and the Republican Spirit in Poetry John Milton, with title pages of his epic by Paul B. Gallagher “Paradise Lost,” and tragedy “Samson Agonistes.” ercy Bysshe Shelley wrote that poets are the unacknowledged legislators of the world; Pwhen revolutionary movements shake peo- ple from their commonplace opinions, prejudices, and self-love, then the “legislation” of great poetry ton’s death (1674) until the American Revolution. It summons them toward truth and justice. In the was read in the American colonies from the pulpit period of the American Revolution and its after- like Scripture, used in the schoolroom like a math, the influence of “poet-legislator” John Milton primer, cited by political leaders, and read aloud was felt throughout the English-speaking world. and recited in homes. President John Adams wrote His poetry was most widely beloved among Ameri- of “the divine, immortal Milton,” that “[he] will cans, and a towering influence upon England’s convince any candid mind, that there is no good great “American” poets, Shelley and John Keats. government but what is republican.”1 John Quincy Milton died in poverty, blindness, and virtual Adams quoted in his speeches the man he called exile in 1674, after the failure of the English Com- simply, “the poet,” and whose poetry he had taught monwealth which he had served, and the British in his Harvard College lectures. oligarchy’s restoration of those degenerate “merry Milton’s “conclave in Pandemonium” in Paradise monarchs,” the Stuart kings.
    [Show full text]
  • Missing the Jobs for the Data Improvements
    8 ISSUES AND INSIGHTS MUMBAI | THURSDAY 24 JANUARY 2019 > ister Sheila Dikshit to say, “I don’t want required to bring in a radical change and > CHINESE WHISPERS the ugly box in my drawing room”. to stimulate the market to provide choice 2003 redux The CAS politics was unfolding too of viewing”, Trai had said in 2004. close to the upcoming 2004 Lok Sabha The latest Trai order may not meet Trai's latest intervention in the cable and DTH market has created more elections and it had to end. The best the vision with which it started regulat- All in the family option before the government was to roll ing the broadcasting industry. For Nakul Nath's confusion than it has solved it back. It did that, while getting Trai to instance, growth and competition of (pictured) expand its role so that it could manage businesses could be stifled through the appearance the mess after the government-ordered way a broadcasting company would like broadcasting along with telecom. The diktat on à la carte pricing, as packaging in the social conditional access system or CAS went to do business, all hell has broken loose, first thing that Trai did was to cap prices holds the key to success in the broad- media and completely out of hand in 2003, this time threatening a blackout if the companies at the existing level, while saying it was casting industry where content offered with state the regulator itself has triggered a situa- in question don’t comply by February 1. a temporary measure.
    [Show full text]
  • Glossary of Poetic Terms
    Glossary of Poetic Terms poetryfoundation.org/learn/glossary-terms Showing 1 to 20 of 227 Terms Browse all terms Abecedarian Related to acrostic, a poem in which the first letter of each line or stanza follows sequentially through the alphabet. See Jessica Greenbaum, “A Poem for S.” Tom Disch’s “Abecedary” adapts the principles of an abecedarian poem, while Matthea Harvey’s “The Future of Terror/The Terror of Future” sequence also uses the alphabet as an organizing principle. Poets who have used the abecedarian across whole collections include Mary Jo Bang, in The Bride of E, and Harryette Mullen, in Sleeping with the Dictionary. Accentual verse Verse whose meter is determined by the number of stressed (accented) syllables—regardless of the total number of syllables—in each line. Many Old English poems, including Beowulf, are accentual; see Ezra Pound’s modern translation of “The Seafarer.” More recently, Richard Wilbur employed this same Anglo-Saxon meter in his poem “Junk.” Traditional nursery rhymes, such as “Pat-a-cake, pat-a-cake,” are often accentual. Accentual-syllabic verse Verse whose meter is determined by the number and alternation of its stressed and unstressed syllables, organized into feet. From line to line, the number of stresses (accents) may vary, but the total number of syllables within each line is fixed. The majority of English poems from the Renaissance to the 19th century are written according to this metrical system. Acmeism An early 20th-century Russian school of poetry that rejected the vagueness and emotionality of Symbolism in favor of Imagist clarity and texture.
    [Show full text]
  • Poetic and Social Development in Indian English Poetry
    www.galaxyimrj.com Galaxy: International Multidisciplinary Research Journal ISSN 2278 – 9529 Poetic and Social Development in Indian English Poetry Ajit Kumar Indian English poetry emerges as a powerful weapon for world society . In the beginning , it has a big difference being Indian poets in English. The difference like on linguistic, content and skills levels. The journey of Indian literature commences from the social reformer Raja Ram Mohan Roy who protested firstly against the exploitation of woman and advocated the rights of press in his writings as well as actions and movements. According to M. K. Naik, “Roy wrote A Defense of Hindu Theism which was “the first and original publication in the history”(81). Later on Henry Derozio (1808-31) who wrote first original poetry in English was less social conscious but more patriotic. Derozio and Kashiprasad set the tone for the love of India which was followed by Toru Dutt, R.N. Tagore, Sarojini Naidu, M.M. Dutt, Sri Aurobindo, Kashiprasad Ghosh, Goroo Chand Dutt and R.C. Dutt. Similarly the first quarter of twentieth century followed Romanticism, Victorianism. Poets like ‘Meherji, A.F. Khabardar, N.B. Thadhani, Nizamat Jung, Harendra Nath Chattopadhyaya, and Ananda Acharya exploited Indian and oriental thought in the typical Indian manner’. The second quarter of twentieth century leaded a rich harvest of poets like ‘V.N. Bhushan, S.R. Dongerkery, T.P. Kailasam, N. Krishna Murti and A. Menezes’ continued the humanistic trend while Nolini Kant Gupta, Dilip Kumar Roy, E.L. Vaswani, Nirodvaran K.D. Sethna, Nishi Kanto, and Themis carried forward the tradition of mystical poetry.
    [Show full text]
  • Sita Devi-Shanta Devi and Women's Educational Development in 20 Century Bengal
    Volume : 1 | Issue : 1 | January 2012 ISSN : 2250 - 1991 Research Paper Education Sita Devi-Shanta Devi and Women's Educational Development in 20th Century Bengal * Prarthita Biswas * Asst. Prof., Pailan College of Education, Joka, Kolkata ABSTRACT This synopsis tries to investigate the cultural as well as educational development of women of the 20th Century Bengali society which has been observed in the writing writings of Shanta Devi and Sita Devi concerning women and to examine in details about the women's literary works during that time. It would be fruitful to historically review the short stories as well as the novels of both Shanta Devi and Sita Devi to get a critical understanding about the various spheres they touched many of which are still being debated till date. The study may not be able to settle the debates going on for centuries about women emancipation and specially about women's educational development in 20th Century Bengal but will sincerely attempt to help scholars think in a more practical and objective manner . Keywords : Women's Education, Emancipation, Literary Works, Women's Enlightenment Introduction 1917, Sita Devi's first original short story Light of the Eyes appeared in Prabasi, her sister's first one Sunanda appearing he two sisters, Sita Devi and Shanta Devi from whose in the same magazine a month later. work a selection is translated and offered to the In 1918, they wrote in collaboration a novel, “Udyanlata” (The TEnglish-reading public are daughters of Sri Garden Creeper in English) , a serial for Prabasi. This was Ramananda Chatterjee, a well-known personality and who given over a column in the Times Literary Supplement, from the launched “Prabasi Patrika” in the year 1901.
    [Show full text]
  • The Knight's Tale and the Teseide
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1946 The Knight's Tale and the Teseide Mary Felicita De Mato Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation De Mato, Mary Felicita, "The Knight's Tale and the Teseide" (1946). Master's Theses. 134. https://ecommons.luc.edu/luc_theses/134 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses 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. Copyright © 1946 Mary Felicita De Mato THE KNIGHT'S TALE AliD THE TESEIDE A Thesis Presented to the Faculty of the Department of English Loyola University In Partial Fulfillment of the Requirements for the Degree Master of .Arts by Sister Mary Felicite. De :WiRtO, O.S •.M. November 1946 TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTI Oll • • • • • • • • • • • • • • • 1 Historical and Literary Background • • • 1 The Poet•s Life • • • • • • • • • • • • 5 His Character • • • • • • • • • • • • • 9 His Friends • • • • • • • • • • • • • • 12 His Learning • • • • • • • • • • • • • 15 Relation to his Times • • • • • • • • • 17 II. CHAUCER AND THE RENAISSANCE • • • • • • • 22 Ohaucer•s relations with the Italian Language • • • • • • • • • • • • • • • Chaucer and Dante • • • • • • • • • • • • Chaucer and Il Canzoniere • • • • • • • His use of Italian sources provided by Dante and Petrarch • • • • • • • • • • 42 His indebtedness to "Lollius" exclusive of the Knight's Tale • • • • • • • • • 47 III. VARIOUS ASPECTS OF THE ITALIAN POET'S LIFE.
    [Show full text]
  • A Note on Translation
    A Note on Translation Reading literature in translation is a pleasure on which it is fruitless to frown. The purist may insist that we ought always read in the original languages, and we know ideally that this is true. But it is a counsel of perfection, quite impractical even for the purist, since no one in a lifetime can master all the languages whose literatures it would be a joy to explore. Master languages as fast as we may, we shall always have to read to some extent in translation, and this means we must be alert to what we are about: if in reading a work of literature in translation we are not reading the “original,” what precisely are we reading? This is a question of great complexity, to which justice cannot be done in a brief note, but the following sketch of some of the considerations may be helpful. One of the memorable scenes of ancient literature is the meeting of Hector and Andromache in Book VI of Homer’s Iliad. Hector, leader and mainstay of the armies defending Troy, is implored by his wife Andromache to withdraw within the city walls and carry on the defense from there, where his life will not be con stantly at hazard. In Homer’s text her opening words to him are these: daimo´ nie, fui´sei se to`so`n me´no␵ (daimonie, phthisei se to son menos). How should they be translated into English? Here is how they have actually been translated into English by capable translators, at various periods, in verse and prose: 1.
    [Show full text]
  • English Language and Literature Major
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Khazar University Institutional Repository KHAZAR UNIVERSITY Faculty: School of Humanities and Social Sciences Department: English Language and Literature Major: English Language and Literature MA THESIS Theme: “An influence of Geoffrey Chaucer‟s works on John Dryden‟s literary activity” Master Student: GunayValiyeva Supervisor: Ph.D. Eldar Shahgaldiyev Baku 2014 1 KHAZAR UNIVERSITY SCHOOL OF HUMANITIES AND SOCIAL SCIENCES ENGLISH LANGUAGE AND LITERATURE DEPARTMENT ABSTRACT OF DISSERTATION FOR THE MASTER DEGREE OF PHILOLOGY THEME “An influence of Geoffrey Chaucer‟s works on John Dryden‟s literary activity” Master Student: GunayValiyeva Supervisor: Ph.D. EldarShahgaldiyev 2 Abstract The object of the thesis is investigating the influence of Geoffrey Chaucer‟s works on John Dryden‟s literary activity. The work consists of introduction, three main chapters, concluding remarks and references. The purpose of the thesis is investigating characteristic features of Geoffrey Chaucer and John Dryden’s period, literary trends of the period, analyzing the major facts of influences of Geoffrey Chaucer’s works on John Dryden’s literary style and activity. The aims of the thesis are as follows: 1. To give the detailed description of 14th and the 15th century in which Chaucer lived and created masterpieces; 2. To identify writers, poets and genres of this period 3. To analyze Geoffrey Chaucer‟s works and his philosophy 4. To analyze “Canterbury tales” 5. To give the detailed description of 17th and the 18th century literary styles in which John Dryden lived. 6. To identify writers, poets and genres of this period 7.
    [Show full text]
  • Some Linguistic Aspects of the Heroic Couplet in the Poetry Op Phillis Wheatley
    SOME LINGUISTIC ASPECTS OF THE HEROIC COUPLET IN THE POETRY OP PHILLIS WHEATLEY APPROVED: Graduate Committee; Major Profess Co Lttee Member) ColmLttee Membe -J- . nirecf^F~of G r aHuli t e^STu d"l es"*Ti;T~E n g 1 i sh " Sean of the Graduate Schoo1 Holder, Kenneth R., Some Linguistic Aspects of the Heroic Couplet in the Poetry of Phillis Wheatley. Doctor of Philosophy (English), August, .1973, 288 pp., 8 tables, bibliography, 69 titles, This dissertation is an examination of the charac- teristics of Phillis Wheatley1s couplet poems in the areas of meter, rhyme, and syntax. The metrical analysis em- ploys Morris Halle and Samuel Jay Keyser's theory of iambic pentameter, the rhyme examination considers the various factors involved in rhyme selection and rhyme function, and the syntactic analysis is conducted within the theoretical framework of a generative grammar similar to that proposed in Noam Chomsky's Aspects of the Theory of Syntax (1965). The findings in these three areas are compared with the characteristics of a representative sample of the works of Alexander Pope, the poet who sup- posedly exerted a strong influence on Wheatley, a black eighteenth century American poet. Metrically, Wheatleyfs poems have a very low complexity rating. The mean number of Kalle-Keyser correspondence violations per line is 1.9. She rigorously adheres to the standard ten-syllable line, making frequent use of elision to attain this syllable count. The initial trochee is a 2 frequent variation of the Iambic stress pattern and the caesura expectedly appears after the fourth,, fifth, or sixth syllable in the vast majority of her lines.
    [Show full text]
  • Epic and Genre: Beyond the Boundaries of Media Luke Arnott the University of Western Ontario, [email protected]
    Western University Scholarship@Western FIMS Publications Information & Media Studies (FIMS) Faculty 2016 Epic and Genre: Beyond the Boundaries of Media Luke Arnott The University of Western Ontario, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/fimspub Part of the Comparative Literature Commons, Critical and Cultural Studies Commons, and the Film and Media Studies Commons Citation of this paper: Arnott, Luke. “Epic and Genre: Beyond the Boundaries of Media.” Comparative Literature, vol. 68, no. 4, December 2016, pp. 351-369. Epic and Genre: Beyond the Boundaries of Media Luke Arnott [email protected] Faculty of Information and Media Studies 1151 Richmond Street FIMS & Nursing Building (FNB) 2050 London, Ontario N6A 5B9 Revision Submitted to Comparative Literature March 1, 2016 In the classic Star Trek: The Next Generation episode “Darmok” (1991), Captain Picard, played by Patrick Stewart, is trapped on a hostile planet where he must cooperate with Dathon, the captain of an alien ship whose language is based entirely on cultural metaphors. Meaningful communication between the two captains succeeds only when Dathon recounts one of his culture’s epic tales, that of “Darmok and Jalad at Tanagra,” which he has contrived for Picard and himself to re-enact on the planet; afterward, Picard reciprocates by telling the mortally-wounded Dathon the story of “Gilgamesh and Enkidu at Uruk.” Stewart later recalled that shortly after the episode aired, a college professor sent him a letter pointing out that more people had just learned about the myth of Gilgamesh in that one broadcast than had ever heard it in all of history to that point.
    [Show full text]