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| emotive imagining, unmediated, direct experience, leading to potential authority. (Julian of Norwich, Margery Kempe) |
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| "happy sin", Adam's sin, the Fall allows grace through Christ (Julian) |
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| trying to associate with classical antiquity, distancing from middle ages (Renaissance) |
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| learning less focused on salvation but addressing ordinary life. Interested in works of past (part of rebirth, Ren) |
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| 1517 under Henry VIII (Renaissance) |
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| Act of Restraint of Appeals |
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| 1533 makes English Church independent from Rome (Renaissance) |
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| 1534 establishes monarch as head of church (Ren) |
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| 1750-1850, Textiles, coal, cast iron, mining, steam power, chemicals, machine tools, gas lighting, glass making, paper machines, railways, canals; Child labor, housing, Luddites (followers of Ned Ludd - folklore figure) destroy factories and machinery |
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| 1660-1800, 1798 Lyrical Ballads; facade; imitate the glory of Rome; wit, decorum, how the world works (Restoration, 18th C?) |
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| Age of Reason begins ca. 1650-1700; Philosopher Locke, Science Newton, History Voltaire; Freedom, democracy, reason vs. divine right, capitalism, scientific method, religious tolerance; Freemasons, debating societies, coffee houses, salons; God as clockmaker/watchmaker |
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| 1660-1700 Charles II after the Interregnum (Cromwell), Charles I executed 1649; Theaters reopened, female actresses allowed, Puritanism lost momentum |
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| Comedy of Manners, concerned with manners and conventions of highly sophisticated and artificial society; Upper class characters, recurring "types" with associated names (rake, fop, coquette, widow); Intrigue, complex plots; Dialogue with wit, intelligence, quickness; Intellectual appeal; Satire, mocking affectation of characters; Pair of witty lovers |
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| Crisis; Chatty/conversational tone; Meditation leading to problem, associative thinking; Silent auditor; Journey (process of art); paradoxical ending |
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| Popularity of novel led poets to tell stories in verse (Victorian --> present) |
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| Poet adopts a fictional identity/persona to speak to implied auditor, to which he slowly reveals info about self to audience; typically a gap the reader can perceive between what the speaker says and what he actually reveals (Victorian --> present) |
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| Supporters of British monarchy, traditionalists, conservative (Early modern/restoration -->) |
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| Constitutional monarchism/anti-absolute rule; opposed Catholic king; Liberal, sympathetic to Puritans (Restoration --> 19th C) |
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| Calvinistic TULIP, Total depravity (sin is every part of one's being, including mind and will, so man cannot save himself), Unconditional election (God chooses to save unconditionally, not on merit), Limited atonement (Christ's sacrifice was for saving the elect), Irresistible grace (When God has chosen to save someone, He will), Perseverance of saints (Those people God chooses cannot lose their salvation; they will continue to believe. If they fall away, it will only be for a time) -- (Colonial) |
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| method of using scripture to understand current events; see Bradstreet, Taylor, Winthrop, Bradford (Colonial) |
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| private poetry, usually a conversation between God/the speaker (Colonial) |
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| Influenced by 17th C scientific revolution and humanism during Renaissance; Universal humanity: the idea that there is something intrinsically human in all people vs. Great Chain of Being; Shift from "next-world" to "this world" orientation (mid to late 18th C) |
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| Religious reaction to Enlightenment thinking (Colonial) |
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| The Fallen Woman - follows a woman's corruption and loss of chastity. to teach, but also morally dangerous (sexy villains!), reinforces domestic middle class values; Conventionally the heroine dies (19th C, American and British) |
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| Depicts overly emotional and dramatic events; Belief in inherent goodness of man; Direct address to reader; Emotional appeals; Didactic and moralistic; Values feeling over logic; Goal of motivating social change (Antebellum) |
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| "The Cult/Culture of True Womanhood" |
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| Mother, Christian, center of home, religion and morality; mission and pleasure is domestic work (American counterpart to the Victorian "Angel in the Household") |
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| No rationality, "no way out", macabre, gloom, terror, violence, madness, isolation, self blocked from something important, pinned in a deathlike sleep (19th C Amer) |
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| Begins 1830s-1840s; Protests the state of culture and society (particularly organized religion and politics) as corrupting the purity of the individual. Believes in the inherent goodness of man and nature. Best man is "self-reliant" and independent and can then for the best community |
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| Coined by Mark Twain to describe the age, meaning that people were shallow and focused on appearances. Closing of the frontier, rapid economic and population growth, industrialization, urban populations and immigration, Rise of capitalism, investment in appearances and money, greed, corruption, gap between rich and poor (Post Civil War - 1883) |
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| Goal of verisimilitude, "life as it is", Interest in social betterment in light of failure of social projects. Psychological realism |
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| Verisimilitude applied to (usually rural) locale. Center/other dichotomy. Frame narratives for prosperous, urban audiences. Marginalized authors. Trying to create an appearance of homogeny for national reconciliation. Romanticizing the past. Develops the plantation tradition and happy darky. |
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| Verisimilitude with a scientific viewpoint. Attempts to penetrate the surfaces of life. Deterministic (via influences of society, economics, environment, biology/body). Dramatizes loss of individuality |
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| An aesthetic signifier for art. (As opposed to Modernity or modernization) |
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| an umbrella term encompassing the more fantastical fiction genres, specifically science fiction, fantasy, horror, supernatural fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history in literature |
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