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    TEXTE LITERARE,TEXTE LITERARE,

    CONTEXTECONTEXTECULTURALECULTURALE II

    PREDAREA LORPREDAREA LOR

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    A.OBIECTIVEA.OBIECTIVE

    CandidaCandidaii vor dovedi capacitatea de :ii vor dovedi capacitatea de :

    aannelegeelege i analiza un text literar la prima vedere prin utilizareai analiza un text literar la prima vedere prin utilizarea

    corecta termenilorcorecta termenilor i conceptelor, noi conceptelor, noiunilor de teorieiunilor de teorie i critici criticliterar prin care un text se plaseazliterar prin care un text se plaseazn context istoricn context istoric i cultural;i cultural;

    a cona contientizatientiza i transmite atitudini culturale (cultural awareness)i transmite atitudini culturale (cultural awareness);;

    a adecva predarea termenilora adecva predarea termenilor i a conceptelor de teoriei a conceptelor de teorie i critici criticliterarla diverse tipuri de claseliterarla diverse tipuri de clase;;

    a selecta texte literarea selecta texte literaren predarea limbii engleze ca limbstrinn predarea limbii engleze ca limbstrin;;

    a aborda temele generale de mai jos cu referire la operele inclua aborda temele generale de mai jos cu referire la operele inclusese

    n bibliografien bibliografie..

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    B.TEME GENERALEB.TEME GENERALE

    Power, identity, love in ShakespearePower, identity, love in Shakespeares playss plays

    and sonnetsand sonnets

    Enlightenment ideas reflected in the EnglishEnlightenment ideas reflected in the Englishnovelnovel

    The Victorian character: values in actionThe Victorian character: values in action

    Approaches to narrative and character inApproaches to narrative and character in

    British and American literatureBritish and American literature --

    the realist,the realist,modernist and postmodernist paradigms.modernist and postmodernist paradigms.

    Values, symbols and myths in British andValues, symbols and myths in British andAmerican literatureAmerican literature

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    Literatura britanicLiteratura britanic

    Austen, Jane:Austen, Jane: Pride and PrejudicePride and Prejudice

    ororEmmaEmma

    Bronte, Emily:Bronte, Emily: Wuthering HeightsWuthering Heights

    Carroll, Lewis:Carroll, Lewis:AliceAlices Adventures in Wonderlands Adventures in Wonderland

    Conrad, Joseph:Conrad, Joseph: Heart of DarknessHeart of Darkness

    sausau

    Lord JimLord Jim

    Defoe, Daniel:Defoe, Daniel: Robinson CrusoeRobinson Crusoe

    Dickens, Charles:Dickens, Charles: Great ExpectationsGreat Expectations

    sausau

    Oliver TwistOliver Twist

    Forster, E. M.:Forster, E. M.:A Passage to IndiaA Passage to India

    sausau

    A Room With a ViewA Room With a View

    FowlesFowles, John:, John: The French LieutenantThe French Lieutenants Womans Woman

    sausau

    The MagusThe Magus

    GoldingGolding, William:, William: Lord of the FliesLord of the Flies

    Hardy, Thomas:Hardy, Thomas: TessTess

    of the Dof the DUrbervillesUrbervilles

    sausau

    Jude the ObscureJude the Obscure

    James, Henry:James, Henry: The Portrait of a LadyThe Portrait of a Lady

    sausau

    The AmbassadorsThe Ambassadors

    Joyce, James:Joyce, James:A Portrait of the ArtistA Portrait of the Artist

    as a Young Manas a Young Man

    sausau

    DublinersDubliners

    Shakespeare, WilliamShakespeare, William: Sonnets: SonnetsXVIIIXVIII, CXXX; Romeo and Juliet, Julius Caesar,, CXXX; Romeo and Juliet, Julius Caesar, HamletHamlet,,AAMidsummer NightMidsummer Nights Dreams Dream..

    Swift, Jonathan:Swift, Jonathan: GulliverGullivers Travelss Travels

    WoolfWoolf, Virginia:, Virginia:Mrs. DallowayMrs. Dalloway

    sausau

    To the LighthouseTo the Lighthouse

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    Literatura americanLiteratura american

    Faulkner, William:Faulkner, William:Absalom, AbsalomAbsalom, Absalom

    sausau

    The Sound and The FuryThe Sound and The Fury

    Fitzgerald, F. Scott.Fitzgerald, F. Scott. The Great GatsbyThe Great Gatsby

    Hawthorne, Nathaniel.Hawthorne, Nathaniel. The Scarlet LetterThe Scarlet Letter

    Hemingway, Ernest.Hemingway, Ernest. The Old Man and the SeaThe Old Man and the Sea;;

    The Short Happy LifeThe Short Happy Lifeof Francisof FrancisMacomberMacomber

    Melville, Herman.Melville, Herman.Moby DickMoby Dick

    Poe, Edgar Allan.Poe, Edgar Allan. The TellThe Tell--Tale HeartTale Heart;;

    The Fall of the House of UsherThe Fall of the House of Usher

    PynchonPynchon, Thomas., Thomas. The Crying of Lot 49The Crying of Lot 49

    Twain, Mark.Twain, Mark. Huckleberry FinnHuckleberry Finn

    Vonnegut, Kurt.Vonnegut, Kurt. Slaughterhouse 5Slaughterhouse 5

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    Oral ExamOral Exam

    WilliamWilliam FalknerFalknerss

    Absalom, AbsalomAbsalom, Absalom: from: from

    literary text to cultural context.literary text to cultural context.

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    Written ExamWritten Exam

    Consider the following text:Consider the following text:

    Contextualize it from a historical and cultural pointContextualize it from a historical and cultural pointof view, and discuss its relevance with reference toof view, and discuss its relevance with reference toits authorits authors literary canon (2 paragraphs).s literary canon (2 paragraphs).

    Which of the next thematic approaches do youWhich of the next thematic approaches do youfind best able to reveal its meanings and stylisticfind best able to reveal its meanings and stylisticpreferences? Argument your opinion. (1preferences? Argument your opinion. (1

    paragraph).paragraph).

    AnalyseAnalyse

    the text with the above in view (3the text with the above in view (3paragraphs).paragraphs).

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    Power, identity, love in ShakespearePower, identity, love in Shakespearess

    sonnets and playssonnets and plays

    The Shakespearean Sonnet: themes and poeticThe Shakespearean Sonnet: themes and poetic

    style instyle in

    ShakespeareShakespeares comic worlds: rhetoric ands comic worlds: rhetoric and

    personationpersonation

    inin

    ShakespeareShakespeares tragic hero: infringement ands tragic hero: infringement and

    identity inidentity in

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    Sonnet XVIIISonnet XVIII

    Shall I compare thee to a summer's day?Shall I compare thee to a summer's day?

    Thou art more lovely and more temperate:Thou art more lovely and more temperate:

    Rough winds do shake the darling buds of May,Rough winds do shake the darling buds of May,

    And summer's lease hath all too short a date;And summer's lease hath all too short a date;

    Sometime too hot the eye of heaven shines,Sometime too hot the eye of heaven shines,

    And often is his gold complexion dimmed;And often is his gold complexion dimmed;

    And every fair from fair sometime declines,And every fair from fair sometime declines,

    By chance or nature's changing course untrimmed:By chance or nature's changing course untrimmed:

    But thy eternal summer shall not fade,But thy eternal summer shall not fade,

    Nor lose possession of that fair thouNor lose possession of that fair thou ow'stow'st,,

    Nor shall Death brag thouNor shall Death brag thouwand'restwand'rest

    in his shade,in his shade,

    When in eternal lines to time thouWhen in eternal lines to time thou grow'stgrow'st..

    So long as men canSo long as men canbreathe or eyes can see,breathe or eyes can see,

    So long lives this, and this gives life to thee.So long lives this, and this gives life to thee.

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    A Midsummer NightA Midsummer Nights Dream, Acts Dream, Act

    V, Scene OneV, Scene OnePUCK:PUCK:

    If we shadows have offended,If we shadows have offended,

    Think but this, and all is mended,Think but this, and all is mended,

    That you have butThat you have but slumber'dslumber'd

    herehere

    While these visions did appear.While these visions did appear.

    And this weak and idle theme,And this weak and idle theme,

    No more yielding but a dream,No more yielding but a dream,

    Gentles, do not reprehend:Gentles, do not reprehend:

    if you pardon, we will mend:if you pardon, we will mend:

    And, as I am an honest Puck,And, as I am an honest Puck,

    If we have unearned luckIf we have unearned luck

    Now to 'Now to 'scapescape

    the serpent's tongue,the serpent's tongue,

    We will make amends ere long;We will make amends ere long;

    Else the Puck a liar call;Else the Puck a liar call;

    So, good night unto you all.So, good night unto you all.

    Give me your hands, if we be friends,Give me your hands, if we be friends,

    And Robin shall restore amends.And Robin shall restore amends.

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    Enlightenment ideas reflected in the EnglishEnlightenment ideas reflected in the English

    novelnovel

    Swift, Jonathan:Swift, Jonathan: GulliverGullivers Travelss Travels

    Defoe, Daniel:Defoe, Daniel: Robinson CrusoeRobinson Crusoe

    Austen, Jane:Austen, Jane: Pride and PrejudicePride and Prejudice

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    NeoclassicismNeoclassicism

    A principle according to which the writing and criticism of liteA principle according to which the writing and criticism of literatureratureshould be guided by the rules and principles derived from the beshould be guided by the rules and principles derived from the beststof Greek and Roman writers.of Greek and Roman writers.

    It dominated French literature during the 17It dominated French literature during the 17thth

    and 18and 18thth

    centuries.centuries.

    It had a significant influence in England from the Restoration uIt had a significant influence in England from the Restoration untilntil1798.1798.

    Characteristics:Characteristics:

    A regard for tradition and reverence for the classics, with anA regard for tradition and reverence for the classics, with anaccompanying mistrust of innovation;accompanying mistrust of innovation;

    A sense of literature as art (i.e.A sense of literature as art (i.e. artificedartificed), hence the value put on), hence the value put on rulesrules,,conventionsconventions,, decorumdecorum, the properties of received genres;, the properties of received genres;

    A concern for social reality and the communal commonplaces of thA concern for social reality and the communal commonplaces of thoughtoughtwhich hold it together (art is pragmatic and man is its most appwhich hold it together (art is pragmatic and man is its most appropriateropriatesubject);subject);

    A concern forA concern for naturenature, i.e. the way things are and should be;, i.e. the way things are and should be;

    A concern with pride (standing for individual selfA concern with pride (standing for individual self--assertion against theassertion against thestatus quo).status quo).

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    Jonathan Swift (1667Jonathan Swift (1667

    1745)1745)

    Born in Ireland, of AngloBorn in Ireland, of Anglo--IrishIrishparentsparents

    Writings:Writings:

    satiresatiress

    A Tale of a Tub (1704)A Tale of a Tub (1704)

    The Battle of the Books (1704)The Battle of the Books (1704)

    GulliverGullivers Travels (1726)s Travels (1726)

    essaysessays

    PamphletPamphletss

    The Story of an Injured LadyThe Story of an Injured Lady

    (1707)(1707)

    A Short View of the State ofA Short View of the State ofIreland (1727)Ireland (1727)

    A Modest Proposal (1729)A Modest Proposal (1729)

    poemspoems

    Characteristic style:Characteristic style:

    It combines parody, with its imitationIt combines parody, with its imitation

    of form and style of anotherof form and style of anotherwork/author, and satire in prose.work/author, and satire in prose.

    It moves away from simple satire orIt moves away from simple satire orburlesque:burlesque:

    Satire: argues against a habit, practice,Satire: argues against a habit, practice,

    or policy by making fun of its reach oror policy by making fun of its reach orcomposition or methods;composition or methods;

    Burlesque: imitates a despised authorBurlesque: imitates a despised authorand quickly moves toand quickly moves to reductioreductio

    adadabsurdumabsurdum

    by having the victim sayby having the victim say

    things coarse or idiotic.things coarse or idiotic.

    It pretends to speak in the voice of anIt pretends to speak in the voice of anopponent and imitate the style of theopponent and imitate the style of theopponent and have theopponent and have the parodicparodic

    workworkitself be the satire: the imitation woulditself be the satire: the imitation would

    have subtle betrayals of the argumenthave subtle betrayals of the argumentbut would not be obviously absurd.but would not be obviously absurd.

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    GulliverGullivers Travelss Travels

    Both aBoth a satiresatire

    on human nature and aon human nature and a parodyparody

    of the "of the "travellerstravellers' tales" literary' tales" literarysubsub--genre.genre.

    It is divided in 4 parts:It is divided in 4 parts:

    Part I: A Voyage to LilliputPart I: A Voyage to Lilliput

    Part II: A Voyage toPart II: A Voyage to BrobdingnagBrobdingnag

    Part III: A Voyage toPart III: A Voyage to LaputaLaputa,, BalnibarbiBalnibarbi,, GlubbdubdribGlubbdubdrib,, LuggnaggLuggnagg

    and Japanand Japan

    Part IV: A Voyage to the Country of thePart IV: A Voyage to the Country of the HouyhnhnmsHouyhnhnms

    Themes:Themes:

    a satirical view of the state of European government, and of peta satirical view of the state of European government, and of petty differencesty differencesbetween religions.between religions.

    an inquiry into whether men are inherently corrupt or whether than inquiry into whether men are inherently corrupt or whether they becomeey become

    corrupted.corrupted.

    a restatement of the older "ancients versus moderns" controversya restatement of the older "ancients versus moderns" controversy..

    Construction:Construction:

    each part is the reverse of the preceding part;each part is the reverse of the preceding part;

    Gulliver's view between parts contrasts with its other coincidinGulliver's view between parts contrasts with its other coinciding part.g part.

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    Daniel DefoeDaniel Defoe (1660(1660--1731)1731)

    Sometimes called the founder of the modern English novel, DefoeSometimes called the founder of the modern English novel, Defoe established:established:

    a dominant unifying theme with a serious thesisa dominant unifying theme with a serious thesis

    convincing realism (through an almostconvincing realism (through an almost--journalistic firstjournalistic first--person narrative)person narrative)

    a middle class viewpointa middle class viewpoint

    Characteristics:Characteristics:

    His works are written in the form of fictional autobiography orHis works are written in the form of fictional autobiography or diaries to makediaries to makethem more realistic.them more realistic.

    There is no real plot, just a chronological series of connectedThere is no real plot, just a chronological series of connected episodes featuring aepisodes featuring asingle protagonist.single protagonist.

    The protagonist must struggle to overcome a series of misfortuneThe protagonist must struggle to overcome a series of misfortunes, using only hiss, using only hisor her physical and mental resources.or her physical and mental resources.

    DefoeDefoes selfs self

    supporting hero/heroine combines the virtues of Puritanism andsupporting hero/heroine combines the virtues of Puritanism andmerchant capitalism.merchant capitalism.

    There is no psychological development of the characters, only inThere is no psychological development of the characters, only in

    their externaltheir externalcondition.condition.

    His fictional autobiographies anticipate semiHis fictional autobiographies anticipate semi

    autobiographical novels such asautobiographical novels such asJane EyreJane Eyre..

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    Robinson CrusoeRobinson Crusoe

    It reworks the memoirs of an actual sailor (Alexander Selkirk) iIt reworks the memoirs of an actual sailor (Alexander Selkirk) in the story ofn the story ofRobinson Crusoe;Robinson Crusoe;

    Plot: Crusoe is a mariner who takes to sea despite parental warnPlot: Crusoe is a mariner who takes to sea despite parental warnings and, afterings and, aftersuffering a number of misfortunes at the hands of Barbary piratesuffering a number of misfortunes at the hands of Barbary pirates and thes and theelements, is shipwrecked off South America, where, according toelements, is shipwrecked off South America, where, according to his journal,his journal,is able to resist for some 28 years, two months and nineteen dayis able to resist for some 28 years, two months and nineteen days.s.

    Interpretations:Interpretations:

    James JoyceJames Joyce: "He is the true: "He is the trueprototype of the Britishprototype of the British

    colonistcolonist the manlythe manlyindependence, the unconscious cruelty, the persistence, the slowindependence, the unconscious cruelty, the persistence, the slow

    yet efficientyet efficientintelligence, the sexual apathy, the calculating taciturnity".intelligence, the sexual apathy, the calculating taciturnity".

    J.P. HunterJ.P. Hunter: Robinson is not a hero, but an: Robinson is not a hero, but an everymaneveryman

    (he begins as a wanderer,(he begins as a wanderer,and ends as aand ends as a pilgrimpilgrim, entering the, entering the promised landpromised land.).)

    LikeLikeJonahJonah, Crusoe neglects his 'duty' and is punished at sea., Crusoe neglects his 'duty' and is punished at sea.

    PuritanPuritan

    morality:morality: Crusoe often feels himself guided by a divinely ordained fateCrusoe often feels himself guided by a divinely ordained fate((ProvidenceProvidence), thus explaining his robust optimism in the face of apparent), thus explaining his robust optimism in the face of apparenthopelessness.hopelessness.

    Protestant work ethicProtestant work ethic::

    Crusoe's experiences on the island represents theCrusoe's experiences on the island represents the

    inherent economic value ofinherent economic value of labourlabour

    over capital. Defoe's point is that money hasover capital. Defoe's point is that money hasno intrinsic value and is only valuable insofar as it can be useno intrinsic value and is only valuable insofar as it can be used in trade.d in trade.

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    The Victorian character: values inThe Victorian character: values in

    actionaction

    Bronte, Emily:Bronte, Emily: Wuthering HeightsWuthering Heights

    Dickens, Charles:Dickens, Charles: Great ExpectationsGreat Expectations

    Hardy, Thomas:Hardy, Thomas: TessTess

    of the Dof the DUrbervillesUrbervilles

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    Victorian AgeVictorian Age

    Chronologically comprised between 1837 and 1901 (reign of QueenChronologically comprised between 1837 and 1901 (reign of QueenVictoria)Victoria)

    It is equated with EnglandIt is equated with Englands rise to the pinnacle of her economic and politicals rise to the pinnacle of her economic and political

    power as revealed by the Great Exhibition of 1851 or the Queenpower as revealed by the Great Exhibition of 1851 or the Queens Diamonds DiamondJubilee of 1897Jubilee of 1897

    The British colonial empire (covering a vast territory from CanaThe British colonial empire (covering a vast territory from Canada to India)da to India)

    IndustrialisationIndustrialisation: material progress coupled with the exploitation of the poor an: material progress coupled with the exploitation of the poor anddthe emergence of a classthe emergence of a class--conscious workingconscious working--class (the Chartist movement, theclass (the Chartist movement, the

    popularity of the doctrine of socialism among some intellectualspopularity of the doctrine of socialism among some intellectuals

    like thelike theWebbsWebbs

    and G.B. Shaw. )and G.B. Shaw. )

    As a state of mind and pattern ofAs a state of mind and pattern of behaviourbehaviour: Victorian Orthodoxy manifested: Victorian Orthodoxy manifestedby middleby middle--class selfclass self--complacency, respect for authority and rules, nacomplacency, respect for authority and rules, naveveconfidence in the societyconfidence in the societys concern to reward the individual according to hiss concern to reward the individual according to his

    merits.merits.

    AntiAnti--Victorian attitudes: writers and artists who did not share the gVictorian attitudes: writers and artists who did not share the generaleneralenthusiasm with material progress.enthusiasm with material progress.

    Darwinism further divided the intellectual world (many VictorianDarwinism further divided the intellectual world (many Victorians lost theirs lost theirbelief in the immortality of the soul.)belief in the immortality of the soul.)

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    Approaches to narrative and character in British and American liApproaches to narrative and character in British and American literatureterature --

    the romantic, realist, modernist and postmodernist paradigms.the romantic, realist, modernist and postmodernist paradigms.

    Romantic:Romantic:

    Bronte, Emily:Bronte, Emily: Wuthering HeightsWuthering Heights

    Melville, Herman.Melville, Herman.Moby DickMoby Dick

    Edgar, Alan Poe,Edgar, Alan Poe,

    The Fall of the House ofThe Fall of the House ofUsherUsher

    Nathaniel Hawthorne,Nathaniel Hawthorne, TheTheScarlet LetterScarlet Letter

    Realist:Realist:

    Daniel Defoe,Daniel Defoe, Robinson CrusoeRobinson Crusoe

    Jane Austen,Jane Austen, Pride and PrejudicePride and Prejudice

    Charles Dickens,Charles Dickens, Great ExpectationsGreat Expectations

    Twain, Mark.Twain, Mark. Huckleberry FinnHuckleberry Finn

    __________________________________________________________* See the information and the text* See the information and the text

    selection in Michaela Praisler,selection in Michaela Praisler, OnOnModernism, Postmodernism and the NovelModernism, Postmodernism and the Novel(EDP, 2005).(EDP, 2005).

    Modernist:Modernist:

    Joyce, James:Joyce, James:A Portrait of the ArtistA Portrait of the Artist

    WoolfWoolf, Virginia:, Virginia:Mrs. Dalloway*Mrs. Dalloway*

    Foster, E.M.:A Passage to India*

    Faulkner, William:Faulkner, William:Absalom, AbsalomAbsalom, Absalom

    Hemingway, Ernest.Hemingway, Ernest. The Old Man andThe Old Man andthe Seathe Sea

    Postmodernist:Postmodernist:

    GoldingGolding, William:, William: Lord of the FliesLord of the Flies

    FowlesFowles, John:, John: The French LieutenantThe French LieutenantssWoman*Woman*

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    RomaticismRomaticism

    RomanticismRomanticism

    is a movement in art and literature thatis a movement in art and literature that

    began in Europe in the late 18th century and was mostbegan in Europe in the late 18th century and was mostinfluential in the first half of the 19th century.influential in the first half of the 19th century.

    Romanticism fosters a return to nature and also valuesRomanticism fosters a return to nature and also values

    the imagination over reason and emotion over intellect.the imagination over reason and emotion over intellect.

    One strain of the Romantic is theOne strain of the Romantic is the GothicGothic

    with itswith its

    emphasis on tales of horror and the supernatural.emphasis on tales of horror and the supernatural.

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    American GothicAmerican Gothic

    The gothic explores the dark or uncertain sides of human nature.

    Rapid social changes in the nineteenth century cause anxiety in America, nurturing a gothicsensibility in literature.

    In stories of obsessive or tormented characters who find their most basic assumptions aboutthe world turned upside-down, these writers challenge their readers to question their own

    values and beliefs through exploring the ever-evolving character of American identity.

    Hawthorne s works explore the construction of reality through subjective perception, thepasts inevitable and often malevolent hold on the present, and the agonizing ethical dilemmas

    encountered by individuals in society.

    The Scarlet Letter

    works through the painfulinheritance of rigid Puritan faith, dealing with the wrenching implications of its conception ofsin; it also expresses anxiety about the torments of gender inequality

    MelvillesMoby-Dick shares a similar interest in the dark truths of humanity; the white whale isa symbol of ambiguity and uncertainty, and the ship functions as

    a microcosm of mid-

    nineteenth century society; Ahabs hunt is symbolically a rage against God.

    Often set in exotic, vaguely medieval, or indeterminately distant locations, Poes work seemsmore interested in altered states of consciousness than history or culture: his characters oftenswirl within madness, dreams, or intoxication, and may or may not encounter the supernatural,functioning as allegories of human consciousness. For example, there are many doubles

    in

    Poe: characters who mirror each other in profound but nonrealistic ways, suggesting not somuch the subtleties of actual social relationships as the splits

    and fractures within a singlepsyche trying to relate to itself.

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    ModernismModernism

    A radical shift in aesthetic and cultural sensibilities evidentA radical shift in aesthetic and cultural sensibilities evident in thein theart and literature of the first half of the 20art and literature of the first half of the 20thth

    century.century.

    It rejected nineteenthIt rejected nineteenth--century optimism, presenting a profoundlycentury optimism, presenting a profoundlypessimistic picture of a culture in disarray. This despair oftenpessimistic picture of a culture in disarray. This despair often

    results in an apparent apathy and moral relativism.results in an apparent apathy and moral relativism.

    Literary tactics and devices:Literary tactics and devices:

    the radical disruption of linear flow of narrative;the radical disruption of linear flow of narrative;

    the frustration of conventional expectations concerning unity anthe frustration of conventional expectations concerning unity anddcoherence of plot and character and the cause and effect developcoherence of plot and character and the cause and effect developmentmentthereof;thereof;

    the deployment of ironic and ambiguous juxtapositions to call inthe deployment of ironic and ambiguous juxtapositions to call intotoquestion the moral and philosophical meaning of literary action;question the moral and philosophical meaning of literary action;

    the opposition of inward consciousness to rational, public, objethe opposition of inward consciousness to rational, public, objectivectivediscourse; and an inclination to subjective distortion to pointdiscourse; and an inclination to subjective distortion to point up theup theevanescence of the social world of the nineteenthevanescence of the social world of the nineteenth--century bourgeoisie.century bourgeoisie.

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    PostmodernismPostmodernism

    The termThe termpostmodernismpostmodernism

    implies a movement away from andimplies a movement away from andperhaps a reaction against modernism.perhaps a reaction against modernism.

    If modernism sees man rejecting tradition and authority in favorIf modernism sees man rejecting tradition and authority in favor

    of aof a

    reliance on reason and on scientific discovery, postmodernismreliance on reason and on scientific discovery, postmodernismstretches and breaks away from the idea that man can achievestretches and breaks away from the idea that man can achieveunderstanding through a reliance on reason and science.understanding through a reliance on reason and science.

    Postmodernist fiction is generally marked by one or more of thePostmodernist fiction is generally marked by one or more of thefollowing characteristics:following characteristics:

    playfulness with languageplayfulness with language

    experimentation in the form of the novelexperimentation in the form of the novel

    less reliance on traditional narrative formless reliance on traditional narrative form

    less reliance on traditional character developmentless reliance on traditional character development

    experimentation with point of viewexperimentation with point of view

    experimentation with the way time is conveyed in the novelexperimentation with the way time is conveyed in the novel

    mixture of "high art" and popular culturemixture of "high art" and popular culture

    interest ininterest in metafictionmetafiction, that is, fiction about the nature of fiction, that is, fiction about the nature of fiction

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    CharacterisationCharacterisation

    The process by which an author presents and develops a fictionalThe process by which an author presents and develops a fictional

    character.character.

    Character: a textual representation of a human being (or occasioCharacter: a textual representation of a human being (or occasionally anothernally anothercreature).creature).

    Key points to note:Key points to note:

    we learn about individual characters from their own words and acwe learn about individual characters from their own words and actions; from whattions; from whatother characters say about them and the way others act towards tother characters say about them and the way others act towards themhem

    characters help to advance the plotcharacters help to advance the plot

    believable characters must grow and change in response to theirbelievable characters must grow and change in response to their experiences in theexperiences in thenovel.novel.

    Types:Types:

    protagonistprotagonist: a story: a storys main characters main character

    antagonistantagonist: the character or force in conflict with the protagonist: the character or force in conflict with the protagonist

    round characterround character: a complex, fully developed character, often prone to change: a complex, fully developed character, often prone to change

    flat characterflat character: a one: a one--dimensional character, typically not central to the storydimensional character, typically not central to the story

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    d

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    Values, symbols and myths in BritishValues, symbols and myths in British

    and American literatureand American literature

    Bronte, Emily:Bronte, Emily: Wuthering HeightsWuthering Heights

    Defoe, Daniel:Defoe, Daniel: Robinson CrusoeRobinson Crusoe

    GoldingGolding, William:, William: Lord of the FliesLord of the Flies

    Hardy, Thomas:Hardy, Thomas: TessTess

    of theof theDDUrbervillesUrbervilles

    Joyce, James:Joyce, James:A Portrait of the ArtistA Portrait of the Artist

    as a Young Manas a Young Man

    Swift, Jonathan:Swift, Jonathan: GulliverGullivers Travelss Travels

    WoolfWoolf, Virginia:, Virginia:Mrs. DallowayMrs. Dalloway

    Foster, E.M.:A Passage to IndiaA Passage to India

    FowlesFowles, John:, John: The French LieutenantThe French LieutenantssWomanWoman

    Faulkner, William:Faulkner, William:Absalom,Absalom,AbsalomAbsalom

    Hemingway, Ernest.Hemingway, Ernest. The Old ManThe Old Manand the Seaand the Sea;;

    Melville, Herman.Melville, Herman.Moby DickMoby Dick

    Twain, Mark.Twain, Mark. Huckleberry FinnHuckleberry Finn

    Edgar, Alan Poe,Edgar, Alan Poe,

    The Fall of theThe Fall of theHouse of UsherHouse of Usher

    Nathaniel Hawthorne,Nathaniel Hawthorne, The ScarletThe ScarletLetterLetter