LITERARNAplonk

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1ST PART :: POETRYPROSODY :: is the science of versification. Its a fairly broad term that

covers wide world of po etic terms, also of metre and stanza formsPOETIC LANGUAGE/POETIC DICTION :: any for m of expression of

grammar which consists of FIGURES OF SPEECH. Figures of speech are

divided into other subcategories; metaphoric expressions, rhetorical

devices and sound effects.FIGURES OF SPEECH/FIGURATIVE LANGUAGE :: poetic language

concerns any form of expression or grammatical form which deviates

from the most general language

WHEREABOUTS OF THE POETS :: is the poet possibly in the poem ordoes he reside outside the poem (is he a pro tagonist or not)

When I have fears that I may cease to be (e.g.) an autobiographic poem.

A poem in which the speaker of the poem is the poet himself.

The poem is alive. You have to treat it as something eternal.THE IMPLIED READERSHIP OF THE POEM ::

STATUS OF THE POEM IN RELATION TO SOCIETY :: what position

does a certain poem hold in society. Poem having a certain positio n in a

society and in a particular society; whether the poem is critical or

supportivee.g. Steven Spender :P; Moving through the si lent crowd critical ofsocial, political, economic circumstances; left wing author after the WW2,

political ideological manifestoWalt Whitman; Leaves of grass no criticism

THE STATUS OF THE POEM IN LITERARY TRADITION :: everypoem somehow follows the tradition and somehow breaks the tradition.

Shakespeare, Sonnet 130 very strongly against the tradition of

Elizabethan sonnets, he wanted to write a parody

Edmund Spenser, Amoretti dead serious in his descriptionsSONORITY SONOROUS :: which sounds

ASSONANCE :: repetition of vowels after the last accented syllable

CONSONANCE :: repetition of the same final consonant in the accented

syllables and neighbouring wordsEUPHONY EUPHONIOUS :: sounds pleasantly, nice to the ear, gentle,

sweet, soft. Is a such a combination of words which sound pleasantly

smooth and musical to the ear (s,,l normally produce this euphony).

CACOPHONY CACOPHONOUS :: the opposite of euphony, Anarrangement of words which create harsh sound and it doesnt sound that

smooth, its often hard to pronounce. (r is used a lot for example theraven)

ALLITERATION :: a sequence of repeated consonant so unds frostyfingers

COLLOCATION ::

nonstandard c.(busy heart)standard c. (weak heart)

METAPHORS :: many phrases today dont anymore stand as metaphors blue blood, new blood/old blood: new personnel.

JUXTAPOSITION :: to juxtapose a verb=to place side by side,sopostavitev/sopostavljanje

PERSONIFICATION :: the verb is personified

POLYSYNDENTON:: Figure of addition and emphasis which

intentionally employs a series of conjunctions (and, or, but, for, nor, so,yet) not normally found in successive words, phrases, or clauses; the

deliberate and excessive use of conjunctions in successive words or

clauses.ANIMATION :: the verb is turned into an animant one

ONOMATOPOEIA ONOMATOPOETIC :: imitating the sounds from

nature. It comes from William Yeatss poem The Lake Isle of Immisfree

ENJAMBMENT = RUN ON LINE :: semantic or grammatical extensionin the following line

INTER-DEPENDANCE :: every line depends on another line

BLANK VERSE :: unrhymed iambic pentameter

EPIGRAM :: poem consisting of only on e couplet (very short)

IRONY:: indispensable textual element; what distinguishes a good writer

from a bad one;

- if you want to avoid being pathetic, emphatic, sympathetic, you can useirony and keep distance from the topic; is more objective

- the term refers to a contrast, discrepancy between appearance or reality- can take a number of different forms

DRAMATIC IRONY :: a state of affairs known to the reader, audience isthe reverse what it is suppose to be (King Oidipus-Sofokles)

SITUATIONAL IRONY :: a set of circumstances is reverse to what is

expected appropriateVERBAL IRONY :: contrast between what is literally said and what ismeant; most common

denotative meaning; dictionary explanationconnotative meaning ; purpose of using a word, the usageEXAGGERATION/HYPERBOLE/OVERSTATEMENT :: reading

between the lines, take the opposite meaning from what it is said; a

special effect that has a humorous touch; primarily to a muse the reader

UNDERSTATEMENT/FITOTES/MEIOSIS :: the opposite of hyperbole,undervalues, underestimates, tells too little

INTERTEXTUALITY :: intertextual link to other sources; complex inter-

relationship between a text and other texts (theyre in a complicated

relationship :P) taken as basic of the creation or interpretation of a textBATHOS :: sudden, unexpected change

AMBIGIUITY :: use of the word that carries 2 or more different

meanings, can be found also in everyday situations although not always

welcomed, in poetry is welcomed food for thought, it achieves also an

ironic effect; ambiguity is achieved with homonym (a pun, wordplay)WORDPLAY :: - homophony

- relies on phonetic phonological properties; when you listen to a textHOMONYM :: same spelling or pronunciation, different meaning

A PARADOX :: ambiguity that plays with ideas; statement that is true insome sense but at first appears absurd and contradictive; operates on a

larger scale: on the textual scale e.g. the second coming sb walks

somewhere to be born

OXIMORON :: when expressed in 2 words (living dead, a little g iant)METONIMY

SIMILE :: AS or LIKE . . The feature that bonds tenor and vehicle

together is TERTIUM COMPARATIONIS

ANADIPLOSIS _____xx_____


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ANAPHORA x_____

x_____

RHETORICAL QUESTION :: the answer isnt expected and itspresumed

GENRE :: 3 major genres; poetry, prose/fiction, drama + numerous

subgenres(novel, sonn et, ...)

Perplexed = confusedMetric foot = stopica (no shit)

POETIC METRE ::

monometer = 1 foot

dimetre = 2 feettrimetre = 3 feet

tetrametre

pentametre

hexametreheptametre

octametre

U = nenaglaen; - = naglaen

U- : iambic foot/IAMB-U : TROCHEE, TROCHAIC-- : SPONDEE, SPONDAIC

UU : PYRRHIE-UU : DACTIL, DACTILIC

UU- : ANAPEST, ANAPAESTICU-U: AMPHIBRACH, AMPHIBRAIC

| U- | U- | U- | U- | acatalectic perfect

| -U | -U | -U | - catalectic

| U- | U- | U- | U hypercatalectic

TRADITIONAL VERSE FORMS FIXED STANDARD

BLANK VERSE :: u nrhymed iambic pentametre (1557; Henry Howard,

in translation of Vergils Aneid, in Shakespeares plays)A COUPLET :: smallest possible stanzaic form (2 lines) -complete

thought expressed through 2 lines; closed couplet(Alexander

Pope,Gwendolyn Brooks-We real cool)

EPIGRAM :: is a poem consisting of 1 and only couplet (short, sharp,witty)

TERCET :: 3 l ine stanzaTRIPLET :: all 3 lines rhyme together (a,a,a..)

TERZA RIMA :: form of 3 rhyme stanza (Dante) rhyme: aba bcb cdc(Phillip Lankin-Whatever h appened)

QUATRAIN :: 4 line stanza, most common in english poetry. 1

st

and 3

rd

line are tetrametres, the 2 nd and the 4th are trimetres.

poetic form that uses quatrains is a balladQUINTETS :: stanzas of 5 lines (Waller)

SESTET :: 6line stanza (Shakespeare -Venus and Adonis), rhyme: abab +cc, dede + ff

SEPTET :: 7 line stanza, rhyme royal: ababbcc (used for serious themes )

(Shakespeare -rape of lucrece, Auden- Letter to lord Byron)

iambic pentameterOCTET :: 8 line stanza, OTT AWA RIMA, a b a b a b c c (lord Byron-don

juan

9 LINE SPENSERIAN STANZA :: most intricate, 1590 1st used in along epic poem Faerie Gueene

8 lines of iambic pentametre + final line of iambic hexametre

(Alexandrine)

ababbcbc + c

2ND PART :: FICTION

- a product of their imagination (narrative in verse or prose)- fiction also encompasses plays special type of fiction (narrative poems,

folktales, allegories, romance, satires)

- fiction: about the way of treating the subject matter and the way it relatesto reality

- VERSIMILITUDE :: LIFELIKENESS :: ho w realistic it is; how closely itimitates reality

- Subgenre: fiction faction novel/ journalistic novelNOVEL ::

- 1st in 17th cent in Spain(Don Quixote, 1605-1615)(innovative,revolutionary, puts an end to chivalric romance by parodying the lady) ,

then emerged in the 18 th century especially in England

- The centre is set around the hero he has to fulfil a lot of tasks changedwhen modern novel brought individualism; the manner of expression isbroader.

- Predecessors: Aeneid (Vergil, 13 -19 BC); Odyssey & Iliad (Homer, 7 thcent. BC), Divine Comedy (Dante, 1307-1321-medieval period),

- E.g :: Joseph Andrews (Henry Fielding, 1742 a comic romance, also acomic epic in prose, basically a novel), Robinson Crusoe(Daniel Defoe,

1718), Pamela & Clarissa (Samuel Richardson, 1740/41 & 1748/49)

- Modern epics: Faerie Queene (Edmund Spenser, 1590-1596), Paradiselost (John Milton, 1667)

- wordview (Weltanschaung) a unified universal wordview was presentedwith which everybody agree

- MODERN NOVEL: wordview changed when modern novels werebrought, individualism, individualistic perspective of the world; prov ided

space for the reader to agree or disagree; the manner of expression is

broader than before

- Written in verse-

It distinguishes from other works in : length, s tructure, characterization ofheroes

- Early romance was the beginning of a modern novel- Marks the beginning of a new literary genre that replaced the epic- ROMANCE: the scope is usually broad, it stresses to a single problem;

the protagonist is depicted in detail and care; it has linear structure

PICARESQUE N OVEL :: conflict with social norms. Relates the

experience of a vagrant the protagonist is in conflict with soc ial norms

of the society.Structure :: episodic narrative(normally in chronological order), social

injustices in a satirical way. Defoe-Moll Flanders,1722 & Fielding-Tom

Jones,1749BILDUNGS ROMAN :: describes development of protagonist fromchildhood to maturity. Came from germany. A novel of education.

George Eliot-Mill On the Floss, 1860 & Joyce-A portrait of an artist as a

young man,1916

EPISTOLARY NO VEL :: a novel in letters; uses letters as a means of1st person narrator. Samuel Richardson-Pamela,1740/41

HISTORICAL NOVEL : : actions that take place in realistic historicalsituations. Jim Walter Scott-Waverly novels,1814

NEW JOURNALISM :: reworks real events in a new way, partly relatedto a historical novel, recently new, uses genre to rework real events in a

new way. Truman Capote-In cold blood,1966.SATIRICAL NOVEL :: Jonathan Swift-Gullivers travels,1726


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UTOPIAN NOVEL/DYSUTOPIAN NOVEL/SCIENCE FICTION

NOVEL :: creates alternative worlds to criticize socio-political

circumstances.George Orwell-1984,1949GOTHIC NOVEL :: macabre scenery, Bram Hoker -Dracula,1897DETECTIVE NOVEL :: Agatha Christie-Murder on the Oriento

Express,1934

SHORT STORY ::

- concise form of prose/fiction,- emerged as individual works (end of 18 th cent).- Addresses the educated middle class,- published in magazines, journals, newspapers.- One centre action,- often begins in media res, flashbacks.- One location, usually o ne perspective.- Has roots with the novel-a lot of things in common.- Story, myth, fairytale.- Ancient satire, romance.- D

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nights, Canterbury tales.

PLOT - what happens. Is the d eliberately arranged sequence of

interrelated events which makes up its basic narrative structure. Mostplots have an identificible beginning, m iddle and plot. Some k ind of

existing state of equilibrium or balance must be broken. Most p lotsoriginate in some kind of conflict; either internal or external.. p lot is open

to infinite variety; the author does not need to conform to patterns(theonly pattern is his own). The only requirements: plot interesting

INTERNAL CONFLICT :: w ithin protagonist, the issue in the

protagonists self conflict; 2 or more elements are opposed in the

protagonist himselfEXTERNAL CONFLICT :: protagonist is placed against other forces

1)exposition 2)complication 3)crisis 4)falling action5)resolution/conclusion this plot structure is repeated in many chaptersExposition; the beginning section in which the author provides the

necessary background information

Complication; the rising action, d evelops and intensifies the conflict

Crisis; climax, the moment of breaking, the turning point, the moment inwhich the plot reaches the greatest point of emotional intensity

Falling action; the tension subsides, the plot moves towards the

conclusion

Resolution; recalls the outcome of the conflict and establishes balance Highly plotted works; contain distinct stages and generally follow the

structure (detective works)

The crisis does not need to be at the middle

External conflict .. form of opposition: - 2humans; protagonist verseshuman adversary = antagonist

-human and nature-human and society

NARRATOLOGY :: science that explains narrative situations confides

all kinds of fields(linguistic, pragmatic)

CONFLICT :: basic opposition or tension that moves the story forward ,arouses the expectations i n the readerDOUBLE CONFLICTS :: both at the same time

EPIPHANY :: sudden recognition of the state of affairs, sudden revelation

CHARACTERS who acts .. CHARACTERIZATION ::

- The relationship between plot and character is vital- Fiction provides with immediate access to the characters and their lives

and whenever the author withholds some info he provides some othercrucial information

- We are concerned with being able to establish: personality, techniques,whether the characters are credible and convincing other elements come

here and form a unity :plot, setting, narrationCHARACTER:: any individual in a literary work; portrayal of a character

in a certain degree, significant character change

PROTAGONIST = central/ main character; + and traits, easy to notice

ANTAGONIST = person who strongly opposes sb/sth; mor e difficult to

identify if it is not a human being (hero or villain) which is very commonROUND CHARACTER = a lo t of qualities, multidimensional

characteristics, considerable intellectual and emoti onal capacities, can

grow and change.

FLAT CHARACTER = a single characteristic idea or lim ited number ofthem, one-dimensional, dont grow and change, appears again and again,

common in stock character

DYNAMIC PROTAGONIST = in most no vels, the events slowly portray

the change

SETTING : where and when do the events take place. Functions as a

background for an action; as antagonist (partially in Eveline); as a means

of revealing characters (how character reacts, speaks about his or herstate); as a means of reinforcing them; as a means of creating appropriate

atmosphere

NARRATIVE PERSPECTIVE :: who sees what

TELLING :: direct commentary by the au thor- Characterization through the use of names and appearance

SHOWING :: characters evolve through dialogue what he say, actionwhat he does, tone of speaking, egoist/gossip, circumstances: day/night

reveals moreHERO/HEROINE :: person who is admired by many people for doing

something good or/and brave. Person you admire because of particularquality or skills.

novel Short story

Long, a lot of

characters, anumber of

perspectives,

more

locations,different

settings,characters are

described indetail, more

than 1 eventUses number

ofperspectives,

points ofview

Shorter, 1 main event, often begin in media res, 1

perspective, 1 location, suggestive charactersImpression of unity(can be read in 1 sitting, w ithout

interruption)

Length; plot is highly selective ..short

Usually focuses on one central actionIt has to be accelerated with different techniques

The action after starts close to the climax(crisis); oftenbegins in Ins medias res in the middle of things)

The plot is reconstructed with flashbacks retrospectiveMush has happened before the beginning and this is

revealedCharacters depicted with less detail

Has to be more suggestive more leading, d irectedtowards the ultimate goal, more compact

Choice of the narrative perspective due to the shortageof space, normally 1 p erspective


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ANTIHERO :: main character in the story, but one who does not have the

qualities of a typical hero and is e ither more like an ordinary person or is

morally bad.

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