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| how to scan writing (things like meter, rhyme scheme, syllable markings) |
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| the theory of texts echoing other texts |
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| the historical study of how a text comes to be (think Moore omissions) |
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| contradictory terms placed in conjunction for emphasis |
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| criticism that focuses on one piece of the text |
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| the formal properties are inside the text |
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| something not directly in the text |
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| circular reasoning, saying the same thing twice |
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| a condensed verbal relation |
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| purposely saying something that is false or misleading |
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| containing figurative meaning i.e. "kick the bucket" "raining cats and dogs" |
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| looking at the structural properties of the poem to gain insight to broader meaning. disregards all external text and/or biographical info (but it HAS context) |
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| school of criticism formed in the 40's by John Ransom (The New Criticism essays) and Cleanth Brooks (Well Wrought Urn--artwork is its own world, you have to look at it/ look inside it AKA fuck context) |
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| reference to another text, art, history, etc. (must be tacit AKA implied) |
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| material that is both inside and outside the text--not the actual story. (includes: title, chapter and/or section titles, preface, afterward.) AKA between external and internal texts |
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| the shape, or arrangment of parts, the particular mode in which a thing exists or manifests itself |
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| the POV from which the prose is presented. 1st- uses I, me, mine (this does NOT mean it's the author) 2nd- uses you, your. 3rd- either uses "one" or none (may be omniscient or limited omniscient) |
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| science or study of being/existing |
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| theory/ study of the grounds of knowledge |
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| the self is the sole point of existence |
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| a device to help you find something (discovering instead of being told) |
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| A form of criticism, related to postcolonialism. It's the state of being other or different (diversity), putting your frame of mind into anothers. See Achebe's Racism in HoD |
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| posed without expectation of a response in order to obtain an answer |
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| when one thought carries on from one line to another. When referencing the line, you give the line where the idea starts |
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| idea ends at the end of the line |
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| structure or aspects of rhythm in the text |
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| pattern of poetic rhythm (syllabic: fixed number of syllables per line/stanza, accentual: number of stresses per line (think nursery rhymes), accentual-syllabic: both fixed syllables and stresses) |
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| used by Gerard Manley Hopkins-- kind of like free verse- complex meter- no running or common rhythms |
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| basic unit of poetic meter |
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| bah BAH ex. to BE or NOT to BE |
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| BAH bah ex. PETer, PETer,PUMPkin EATer |
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| BAH BAH ex. WHITE FOUNTS FALLing |
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| bah bah BAH ex. twas the NIGHT before CHRISTmas and ALL through the HOUSE |
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| BAH bah bah ex. PICture yourSELF on a BOAT on a RIVer |
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| looks like it should rhyme (ear, bear) |
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| 1. Tenor- that which is being metaphorized 2. Vehicle- that which is doing the metaphorizing. ex. my heart (tenor) is a wheel (vehicle) |
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| giving human characteristics to nonhuman things |
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| a pause or breathing place about in the middle of a line-- generally indicated by a pause in the thought |
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| an address to a dea or absent person, thing, or idea as if it were alive and capable of understanding |
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| 5 tercets (three lines) and one quatrain (four lines), 19 lines total. rhyme scheme ABA//ABA//ABA//ABA//ABA//ABAA. ex. Do Not Go Gentle into That Good Night |
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| 14 lines (came from the word "little sound"). Composed of octave (8) plus sestet(6)--may or may not be in separate stanzas. petrarchan, spenserian, and shakespearian sonnets |
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| 5 tercets (three lines) and one quatrain (four lines), 19 lines total. rhyme scheme ABA//ABA//ABA//ABA//ABA//ABAA. ex. Do Not Go Gentle into That Good Night |
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| "art of poetry" what poetry should be or should do |
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| latin for "as in painting, so should poetry" |
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| poetic description of a visual work of art (painting, pottery, statue) |
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| any principle or precept expressed in a few words--a short pithy sentence containing a truth of general a truth of general importance AKA maxim. ex. can't beat hen to make them lay |
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| literary texts are inter related, echo each other |
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| the placement of clauses one after another, without indication of connecting words, the relation between them. ex. I came, I saw, I conquered |
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| one word is substituted for another on the basis of association. ex. "lend me your ear" |
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| part is substituted for the whole. ex. "all hands on deck" |
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| tendency of people to credit the natural world with the feelings of human beings. ex. Hopkins' Spring and Fall |
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| literary or artistic works of art produced in the creator's youth |
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| the field of study that engages production, editing, preservation, and transmission of text. It is a subcategory of material culture. ex. Kappel's Complete with Omissions |
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| an edition. especially of the complete works of a classical author. |
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| biographical context or publication history |
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| bringing in other critics thoughts. goes in and out of style. can overlap historical context but you should consider it separate. ex. Achebe on Conrad |
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| a mandatory process/skill performed in the 3rd person about "how" things happen, not "why" (avoid paraphrasing or interpretation). Go from LARGE-small-- poem/book, stanza/chapter, sentences(if punctuation)/paragraphs,individual lines/sentences, grammatical patterns, individual word choice, punctuation |
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| The implications of context are 1. Intent- what did the author intend or what is at stake (conscious and/or unconscious) 2. Influence- what is taking place at this time--make sure A comes before B; avoid ad hoc fallacy AKA faulty causation (direct and indirect) |
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| came from the word "poesis". wordsworth says it's taken from emotion and tranquility. Poetry is verse--couplet2, tercet3, quatrain4, quintrain5, sestet6, septet7,octet/octave8. Feet per line--dimeter2, trimeter3, tetremeter4, pentameter5, hexameter6, heptameter7, octameter8 |
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| "Symbolism and Impressions in HoD". Symbolism and Impressionism as a formal writing--it's formalist in it's analysis of the text but also brings in historical context |
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| born in Ukraine, moved to France, traveled the world, moved to England (english 3rd language). he thought HoD would have been better if he had known how to write it |
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| “Conrad, Casement, and the Congo Atrocities”. Believes everyone taken to the congo had to be influenced by the atrocities. Believes Conrad avoided putting names and dates in HoD because it would diminish the story's power with future readers who would think the themes were outdated. Believes Conrad more successful than Casement because he showed both sides as evil. |
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| "An Image of Africa: Racism in Conrad's "Heart of Darkness"" 1975. Postcolonial criticism calls Conrads portrayal of Africa racist. He claims Conrad refuses to bestow human expression in the Africans. Uses biographical context by citing something Conrad said about blacks. Asks if a novel that dehumanizes people can be great art. Makes the risky link between Marlow and Conrad as one. |
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| greek mythology reference that has come to mean being in a state where one is between two dangers and moving away from one will cause you to come closer to the other. |
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| [x'] = bah BAH and ['x] means BAH bah. typically, the lines that start with a vowel start with an [x] and consonants start with a ['] |
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| poetry that follow no rhyme scheme, just a syllabic one |
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| something familiar to you is presented as strange |
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| something familiar to you is presented as strange |
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| representation by imitation--less abstract |
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| describes real life under the guise of fiction. "novel with a key" |
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| a flase science that believed in the engineering of a perfect Aryan race |
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| the false idea the human races come from different lineages. (polygeneticism would argue different races as different species) |
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| the theory that there is no such thing as a theory |
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| fixed characteristics to a general category |
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| a coming of age story or a novel of education |
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| a typical tour of Europe for the upper class youth after college |
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| study of periodically published "magazines" where advertisements are seen as culturally significant. The first was the Spectator by Joseph Addison. *Lantham and Scholes* |
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| a circular prison designed by Jeremy Bentham so prisoners never know if they're being watched or not. Foucault says its representative of our centralized system |
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| study of signs (a sign is the signifier/signified). think syntax and lexicology. Signs represent values in societies |
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| misuse of a word (often intentional for a humorous effect). ex- we studied menstrual shows in American history [minstrel] |
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--Every expressive act is embedded in a network of material practices.
--Every act of unmasking, critique, and opposition uses the tools it condemns and risks falling prey to the practice it exposes.
--Literary and nonliterary texts circulate inseparably
--No discourse, imaginative or archival, gives access to unchanging truths nor expresses unalterable human nature.
--argues that what we call "history" is not necessarily "true"
--New Historicism therefore identifies oppressed voices and allows them to have their say in history. (i.e. women, gays, slaves)
--New critics that started in 1980’s looked at form as meaning. Not interested in nonliterature.
--Based on an academic journal that’s still going |
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--Old Historicism explains literary works in terms of the "influence" of history upon them.
--What are the author's political inclinations? Do we see any reflections on historical events in this work? What aspects of culture are important to this work?
(In a circle, the center is something such as government, middle is school, outside is “you”)? |
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| Sarah Churchwell - Lost Among the Ads |
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--a bazaar is a market (Harper's Bazaar)
--uses scholarly journals to relate to GPB
--cultural capital: it's birthplace is in the "real" culture
--cult of the middlebrow: 20's society sought to become upper-classized by learning about classy shit |
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| Sean Latham and Robert Scholes - The Rise of Periodical Studies |
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| --thinks it sucks that ads are being taken out of reprinted periodicals becuase they believe that the ads are culturally significant |
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| Michel Foucault - What Is An Author? |
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--all authors are writers, but not all writers are authors
Four Characteristics of the "Author Function"
1. the need for an author comes from the need to punish those who make transgressive statements (accountability)
2. The AF effects different texts in different ways (i.e. the periodic table vs. oliver twist)
3. AF is very complex-- like deciding if a text should be attributed to a particular author (i.e. Gary Taylor claimed to find a lost Shakespeare poem but people said it couldn't be becuase it wasn't "good" enough--thus assuming an author must maintain a standard of quality)
4. "author" doesn't necessarily refer to a real person, could be an alter-ego for the actual writer (think GPB)
--founders of discursivity = people like Marx whose texts make way for the possibility of new texts [scientists can't be founders of discursivity]
--author function has operated differently at different times ("historical analysis of discourse")
--authors aren't above society, they are just a reflection of the restrictive society.
--even if author function disappears there will always be some "system of constraint"
Foucault Bio:
-believes people are shaped by the system they live in
-"knowledge is power"
-famous for his History of Sexuality volumes
-discourse: “this field is made up of totality of all effective statements, in their dispersion as events and in the occurrence which is proper to them.” |
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| Judith Butler - Imitation and Gender Insubordination |
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--anti-essentialist view of sexuality
--sexuality is a performance of itself
--“identity categories are instruments of regulatory regimes” |
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