Introduction to Literary Studies

1. Introduction to Literary Studies

2. What is literature? Why read literature? Why analyze literature?

3. What’s literature? • Those pieces of writing which despite the passing of the years, still inspire admiration, reflection and emotions in readers • Literature is never static

4. Why read literature? • To enjoy • To escape • For information • To break down personal barriers • To stir up emotions

5. Why analyze? • Analyze = understand • The more we know about the art of writing, the more receptive and responsive we become as readers • We need the definitions of terms to exchange opinions

6. text • Text I = wypowiedż w obrębie określonego systemu jęnzykowego, stanowiąca zamkniętą calość z punktu widzenia treściowego. • Jednozdaniowa • Wielozdaniowa • Teoria tekstu • Text II = utrwalony (graficznie) wspóltworzącychwypowiedż znaków językowych, których postać i porządek przyjmowane są jako niezmienne. • Text ≠ dzieło literackie • Krytyka tekstu / textualcirticism • A specificworkchosen as an object of analysis

7. Dzieło literackie = literarywork = językowy twór sensowny (wypowiedż) spełniający warunki artyzmu (artistry). • Tekst autentyczny /autorski • Author – a creator of theliterarywork • 1. psychofizyczna, społeczno-historyczna jednostka • 2. a writer, biograficzna jednostka od strony twórczosti literackiej • 3. podmiot czynności twórczych

8. literarytext / non-literarytext • Poetry • Fairytales • Shortstories • Dramatic role-play • Documents • Instructions • Givingdirection • Recipe • Menu • Presentationpptx

9. Rodzaje / gatunki literackie • Liryka (podmiot liryczny, afabularność – monolog liryczny) • Pośrednia • Bezpośrednia • Inwokacyjna • L.podmiotu zbiorowego • Epika (narrator – fabula – narracja) • Krótkie/duże formy • Dramat (nieobecność nadrzędnego podmiotu – akcja - dialog) • Odmiany • Gatunki mieszane • Gatunki pograniczne

10. Author / narrator • The "voice" that speaks or tells a story. Some stories are written in a first-person point of view, in which the narrator's voice is that of the point-of-view character. For instance, in The Adventures of Huck Finn, the narrator's voice is the voice of the main character, Huck Finn. It is clear that the historical author, Mark Twain, is creating a fictional voice to be the narrator and tell the story--complete with incorrect grammar, colloquialisms, and youthful perspective. In other stories, such as those told in the third-person point of view, scholars use the term narrator to describe the authorial voice set forth, the voice "telling the story to us." For instance, Charles Dickens' Oliver Twist presents a narrative in which the storyteller stands outside the action described. He is not a character who interacts with other characters in terms of plot. However, this fictionalized storyteller occasionally intrudes upon the story to offer commentary to the reader, make suggestions, or render a judgment about what takes place in the tale. It is tempting to equate the words and sentiments of such a narrator with the opinions of the historical author himself. However, it is often more useful to separate this authorial voice from the voice of the historical author

11. Autor / obraz autora • AUTHORIAL VOICE: The voices or speakers used by authors when they seemingly speak for themselves in a book. (In poetry, this might be called a poetic speaker). The use of this term makes it clear in critical discussion that the narration or presentation of a story is not necessarily to be identified with the biographical and historical author. Instead, the authorial voice may be another fiction created by the author. It is often considered poor form for a modern literary critic to equate the authorial voice with the historical author, but this practice was common in the nineteenth century. However, twentieth-century critics have pointed out that often a writer will assume a false persona of attitudes or beliefs when she writes, or that the authorial voice will speak of so-called biographical details that cannot possibly be equated with the author herself. In the early twentieth-century, New Critics also pointed out that linking the authorial voice with the biographical author often unfairly limited the possible interpretations of a poem or narrative. Finally, many writers have enjoyed writing in the first person and creating unreliable narrators--speakers who tell the story but who obviously miss the significance of the tale they tell, or who fail to connect important events together when the reader does. Because of these reasons, it is often considered naive to assume that the authorial voice is a "real" representation of the historical author.

12. POETIC SPEAKER • The narrative or elegiac voice in a poem (such as a sonnet, ode, or lyric) that speaks of his or her situation or feelings. It is a convention in poetry that the speaker is not the same individual as the historical author of the poem. For instance, consider the poet Lord Byron's mock epicDon Juan. Lord Byron wrote the poem as a young man in his late twenties. However, the speaker of the poem depicts himself as being an elderly man looking back cynically on the days of youth. Clearly, the "voice" talking and narrating the story is not identical with the author. In the same way, the speaker of the poem "My Last Duchess" characterizes himself through his words as a Renaissance nobleman in Italy who is cold-blooded--quite capable of murdering a wife who displeases him--but the author of the poem was actually Robert Browning, a mild-mannered English poet writing in the early nineteenth-century. Many students (and literary critics) attempt to decipher clues about the author's own attitudes, beliefs, feelings, or biographical details through the words in a poem. However, such an activity must always be done with caution.

13. Character • Any representation of an individual being presented in a dramatic or narrative work through extended dramatic or verbal representation. The reader can interpret characters as endowed with moral and dispositional qualities expressed in what they say (dialogue) and what they do (action). E. M. Forster describes characters as "flat" (i.e., built around a single idea or quality and unchanging over the course of the narrative) or "round" (complex in temperament and motivation; drawn with subtlety; capable of growth and change during the course of the narrative). The main character of a work of a fiction is typically called the protagonist; the character against whom the protagonist struggles or contends (if there is one), is the antagonist. If a single secondary character aids the protagonist throughout the narrative, that character is the deuteragonist (the hero's "side-kick"). A character of tertiary importance is a tritagonist. These terms originate in classical Greek drama, in which a tenor would be assigned the role of protagonist, a baritone the role of deuteragonist, and a bass would play the tritagonist. Compare flat characters with stock characters.

14. character protagonist antagonist ROUND, a round character is depicted with such psychological depth and detail that he or she seems like a "real" person. The round character contrasts with the flat character, a character who serves a specific or minor literary function in a text, and who may be a stock character or simplified stereotype. If the round character changes or evolves over the course of a narrative or appears to have the capacity for such change, the character is also dynamic. Typically, a short story has one round character and several flat ones. However, in longer novels and plays, there may be many round characters. The terms flat and round were first coined by the novelist E. M. Forster in his study, Aspects of the Novel. • The main character in a work, on whom the author focuses most of the narrative attention. • FLAT, also called a static character, a flat character is a simplified character who does not change or alter his or her personality over the course of a narrative, or one without extensive personality and characterization. The term is used in contrast with a round character.

15. Image / obraz • A common term of variable meaning, imagery includes the "mental pictures" that readers experience with a passage of literature. It signifies all the sensory perceptions referred to in a poem, whether by literal description, allusion, simile, or metaphor. Imagery is not limited to visual imagery; it also includes auditory (sound), tactile (touch), thermal (heat and cold), olfactory (smell), gustatory (taste), and kinesthetic sensation (movement). • Swiat przedstawiany dzieła lit. • Wyraziście ukstałtowany zespół elementów świata przedstawionego utworu, nasycony konkretnoścą i plastycznoścą, apeluących do przedstawień wyobrazeniawychczytalnika • Konstrukcja semantyyczna powstała w wyniku zastosowania w wypowiedzi wyrażeń figuralnych

16. What is Poetry?http://www.examplesinpoetry.com/

17. Theme: Types of Poetry • ELEGY is a formal lament for the death of a particular person • ODE is a long lyric poem with a serious subject written in an elevated style • SONNET was originally a love poem which dealt with the lover’s sufferings and hopes; fourteen lines and an intricate rhyme pattern • SONNET CYCLES which depict the various stages of a love relationship. A LYRIC poem is a comparatively short, non-narrative poem in which a single speaker presents a state of mind or an emotional state. • Subcategories : elegy, ode, sonnet DRAMATIC MONOLOGUE (In a dramatic monologue a speaker, who is explicitly someone other than the author, makes a speech to a silent auditor in a specific situation and at a critical moment.) OCCASIONAL POETRY (written for a specific occasion)

18. Types of Poetry • The MOCK-EPIc makes use of epic conventions, like the elevated style and the assumption that the topic is of great importance, to deal with completely insignificant occurrences. • A BALLAD is a song, originally transmitted orally, which tells a story; the ballad stanza is usually a four-line stanza, alternating tetrameter and trimeter NARRATIVE poetry gives a verbal representation, in verse, of a sequence of connected events, it propels characters through a plot. It is always told by a narrator. EPICS usually operate on a large scale, both in length and topic, such as the founding of a nation (Virgil’s Aeneid) or the beginning of world history (Milton's Paradise Lost), they tend to use an elevated style of language

19. Types of Poetry • Both lyric and narrative poetry can contain lengthy and detailed descriptions (DESCRIPTIVE poetry) or scenes in direct speech (DRAMATIC poetry). • The purpose of a DIDACTIC poem is primarily to teach something, but it can also be meant as instructive in a general way.

20. Figures of Speechorliterary / stylistic devices • In metonymy (‘a change of name’) the term for one thing is applied to another with which it has become closely associated. • In synecdoche (‘taking together’) a part of smth is used to signify the whole (Many hands make light work). • A simileis a formof spechin which a comparison btw two distinctly different things is indicated by the word ‘like’ or ‘as’ • Personification is a form of comparison in which human characteristics are attributed to an animal • A metaphor is an implied comparison which creates a total identification btw the two things being compared

21. figures of speech test • Simile…………………….. • Metaphor………………… • Metonymy……………….. • Synecdoche……………… • Personification ………….. • Englandneedseveryman to do his duty • Many hands make lightwork. • My loveislike a red, redrose. • The White House hasrefused to comment. • Life’s but a walkingshadow, a poor player.

22. Imagery • A concrete representation of a sense impression, a feeling, or an idea which appeals to one or more of our senses. • Tactile imagery--sense of touch. • Aural imagery--sense of hearing. • Visual imagery--sense of sight. • Olfactory imagery--sense of smell. • Gustatory imagery--sense of taste. We use the term imagery to refer to combinations or clusters of images that are used to create a dominant impression. https://owl.english.purdue.edu/owl/resource/617/1/https://www.youtube.com/watch?v=WJHb9EUXjpo&list=PLH2TSAg2w1OC_XIWTzl2tXwHrAlSiGLTC&index=4

23. Bent double, like old beggars under sacks,knock-kneed, coughinglikehags we cursedthroughslugdeDulce et Decorum Est by W.Owen • Visual images: • Auralimages: • A tactileimage: • To bend (bent, bent) • A beggar • A sack • A hag = 1) an ugly old woman, especially a vicious or malicious one. 2) a witch or sorceress. • Sludge = mud

24. Symbols • Cultural/shared symbols are widely recognized and accepted: the dawn = hope, the serpent = evil, the light = knowledge • Literary/personal symbols are created by authors and have no pre-established associations- their meaning emerges from the context of the work in which they appear • Guidelines to identify symbols: • Repetitions • Emphasis • Associations automatically made with shared symbols • * avoid ‘symbol hunting’ !

25. Symbol test • Cultural • Shared • Personal • Literary • A symbolicassociationthatiswidelyrecognized and accepted. • A symbol thatdoes not havepre-establishedassociation. Themeaning of the symbol emergesfromthecontext of theworkitoccurs in.

26. Apparently with no Surprise by Emily Dickinson Apparently with no surprise To any happy Flower, The Frost beheads it at its play – In accidental power – The blonde assassin passed on – The Sun proceeds unmoved To measure off another Day For an approving God.

27. https://www.youtube.com/watch?v=zTtA2NtDFNE

28. Sound features: Rhyme The term RHYME refers to the effect that is created when a poet repeats the same sound at the end of two or more lines. It has several functions: 1) It adds a musical quality to the poem; 2) Marks the end of each line; 3) Makes the poem easier to remember; 4) affects the pace and tone of the poem. • One-syllable or Masculine rhyme: day/say, light/night • Two-syllable or Feminine rhyme: ocean/motion, pretending/bending • Triple-syllable: beautiful/dutiful • True or perfect rhyme: boat/float. Imperfect rhyme: loads/lids/lads.

29. accentual-syllabic metre

30. Sound features • Assonance is the repetition of similar or identical vowel sounds in a sequence of nearby words containing different consonants. It creates ‘vowel rhyme’ as in break/play, hope/spoke. • The use of sound of words to suggest the sound the denote is called onomatopoeia • Alliteration is the repetition of the same initial consonant in a sequence of nearby words (safe and sound).

31. Sound features • rhythm is the pulse or beat in a line of poetry, the regular recurrence of an accent or stress • meter is the measure or patterned count of a poetry line (a count of the stresses we feel in a poem's rhythm). • The unit of poetic meter in English is called a "foot," a unit of measure consisting of stressed and unstressed syllables.

32. Sound features: Rhythm • Anapest = 2 unstressed-stressed • Dactyl = stressed – 2 unstressed • Spondee = 2 stressed (rain-bow) • Iamb = unstressed-stressed • Trochee = stressed-unstressed • Monosyllable = 1 stressed (sky)

33. My Papa’sWaltzby Theodore Roethke The whiskey on yourbreath Could make a small boy dizzy; But i hung on likedeath; Suchwaltzing was not easy. Identifythesoundfeaturesinthepoem: • Therhymescheme • Alliteration • Rhythm

34. Conventionsstanzaspauseproseverseconcretepoetryvisual form Layoutreferes to the __________(1) a poemtake on thepage. Itisimportantbecauseithelpsthereader’sunderstanding by indicating, e.g., where s/heshould ________(2) orwhere a newline of thoughtbegins. Certain ___________ (3) havebeenestablishedinthelayout of poems: the lines • - do not coverthefullpage as they do in ________ (4); • Areusuallygroupedtogetherintounitscalled ___________(5); • Areoccasionalygroupedintounitsthatrepeatthe same number of lines, the same metre and the same rhymingscheme. Theseunitsarecalled _________(6). In whatisreferred to as ____________ (7), thevisual form of thepoemisalmost as impostantinconveyingmeaning as theverbalcommunication.

35. How to analyze a poem • Syntacticalstructure • Vocabulary • Strongposition • Stylistic devices. • System of images 1. Form of presentation: • Narrativemethod (1st / 3rd person narrative; charater’s 1st pers. utterance; lyrichero 1st pers. utterance) • Types of composition (narration, dedscription, reasoning, author’sdigression, author’smonologue) 2. Poetic form: • Meter (foot, rhymignpattern, kind of stanza) • Instrumentation

36. What is Fiction?

37. Fiction • THEME • CHARACTER • PLOT • SETTING • POINT OF VIEW • LANGUAGE AND STYLE

38. SETTING is a place or location of the action, which provides the historical, cultural, and emotional context for characters • Setting as a mirror • Setting as an antagonist • Setting as a way of revealing character • Setting as a means of reinforcing theme • Setting in time • Social setting

39. setting

40. Defining character • Relation to the plot : do they play a major part in the events of the story or a minor one? • Degree to which they are developed: are they complex characters or are they one-dimensional? • Growth in the course of story: do they remain the same throughtout the story or do significant changes in their personality take place?

41. character

42. character • Flat ch. embody or represent a single characteristic, they may also be referred to as types or caricatures. • Dynamic ch. as the result of the experience they have. • Static ch. remain untouched by the events of the story. • The central character of the plot is called protagonist. The character against who the protagonist is struggling is called antagonist. • Round ch., like real people, have complex, multi-dimensional personalities; they show emotional and intellectual depth; are capable of growing and changing.

44. Conveying character • Telling • Showing • Dialogue • Action • Comparison with other characters • Setting • Names • Appearance

46. PLOT is an author’s arrangement of events in the story • CONFLICT is a driving force behind many plots. It may come from: • Outside: the main CH may be in conflict with external forces (family, society, nature • Within: the CH may be forced to make a difficult choice, or he may have to question his values & belief • SUSPENSE is the sense of worry • SUB-PLOT is a secondary story that is complete in its own right.

48. Narrators and point of view • Narrator is the person telling the story. • First-person narrator participates in action but sometimes has limited (subjective) knowledge/vision. • Objective narrator is unnamed/unidentified (a detached observer), does not assume character's perspective and is not a character in the story. The narrator reports on events and lets the reader supply the meaning. • Omniscient [om-nish-uh nt](all-knowing) narrator (multiple perspectives). The narrator takes us into the character and can evaluate a character for the reader (editorial omniscience). When a narrator allows the reader to make his or her own judgments from the action of the characters themselves, it is called neutral omniscience. • Limited omniscient: all-knowing narrator about one or two characters, but not all.

50. Point of view • Dramatic or objective point of view – the story seems to be told by no one (video-camera left running). • Stream of consciousness is a term applied to any attempt by a writer to represent the conscious and subconscious thoughts and impressions in the mind of a CH. • Interior monologue a term borrowed from drama, where monologue refers to the part of play where the actor expresses his inner thoughts aloud to the uadience.