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Made up stores, artistic enterprise
True to life - verisimilitude - not a metaphysical truth |
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| Device derived from cinema, episode inserted to show events that happened earlier time. Used in modern fiction, life slaughterhouse V |
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| Arrangement of events and information such that later events are hinted at beforehand. Suggestion at the beginning of the work what the end of that given work will include. Gives the work unity. Example of 'A good man is hard to find' by O'Connor |
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| Exposition, Rising Action, Climax, Falling Action, Denouement. Seen in typical literature |
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Suffering or Feeling - evokes feelings of tenderness
Examples include Allende's 'And of Clay we are created'.
And Baldwin's "Sonny's blues" |
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Round, Flat, stereotypes, dynamic, static.
Static includes O'Connor's grandmother in a good man is hard to find, while dynamic includes the reporter in Allende's 'and of clay' |
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Object, animate or inanimate, that stands for something else.
James Joyce's Araby, the papers left on the ground which include references to religion and sexuality symbolize the conflict between the two themes, as being scattered and torn |
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Ostensible - literal or explicit conflict
Actual - what the ostensible conflict represents or symbolizes on a deeper level of the literary work.
External - tensions between character and something outside or himself or herself - character vs. character, vs society, vs. nature, vs. god or fate.
Internal - tensions between a character and him/herself |
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Reference in one work to another work
Example of Gaitskill's Tiny smiling daddy reference to self
or Atwood's references to Bodaccio's Decameron in order ot convey images about cannabilasm |
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| Recognition - moment of recognition or truth when ignorance gives way to knowledge. Example of Joyce's Araby at the end of the novel, when he realizes his pursuit of Araby is one of vain and material wealth. |
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| A reversal of fortune from prosperity to ruin, example, but in an unusual way, is in D.H. Lawrence's The rocking horse winner. Goes from normality to dead. |
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Insight or revelation gained when one suddenly understands the essence of something - eureka moment.
Example of O'Connor's "A good man is hard to find" when the protagonist recognizes that the bad man is actually the one who has encountered them in the ditch. Or that the house they are trying to find is actually in a different state. |
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| Science Fiction as a Gnre |
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| Narrative concept that integrates concepts like trips to other planets, futuristic technologies, mix of fantastic and mundane. Example of Phillip K.Dick's We can remember for you wholesale, plot for total recall. |
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| Special type of verbal or situational irony when the audience understands the implicatino and meaning of a situaiton but the characters do not. Example of Shirley Jackson's novel, the lottery |
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| Formation novel - account of the youthful development of a main character. Example found in Em. Forster's " Maurice", another example found in Joyce's Araby, though the amount of development, due to the short time scale, is impeded. |
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| Ascription of human feeling to the inanimate, arranging the natural landscape so that it seems to be in sympathy with a human being. Example of Allende's 'And of clay we are created' the mudslide, or in E.M forster's Maurice, with the rain and the negativity |
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| Secondary character whose main purpose is to create contrast with another character. Foils in ATwood's Edible woman include Ainsley and Peter, though they each foil Marian in a very different sense. Also, in Maurice, Clive plays a foil to Maurice |
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| Surface, that has been used more than once for writing upon, having been rubbed out or somehow erased to accomodate the second writing. Term now metaphorically used to refer to multiple readings of words,mulitple layers of meanings. Good example is the colour purple, as the story is re-told from different perspectives through notes. Or equally good, is Maurice, as Clive begin narration |
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| Change of name - figure of speech in which the name of an attribute of a thing is substituted for the thing itself. I.E. the use of the word The crown - metonym for the monarchy in Maurice. Or Shakespeare in Edible Woman - metonym for all works of shakespeare |
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| The art of diminishing or derogating a subject by making it ridiculous and evoking towards it attitudes of amusement, contempt or scorn. best seen in P.G wodehouse's "code of the woosters" as well as all his jeeves series |
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| Material not strictly relevant to central teme, inserted to delay the outcome or resolution. Thereby heightens the tension or suspense of the work |
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| Novel that has a university campus as its setting, majority of which are writtten by academics. Lucky Jim by Amis is best known example. However, often set at provincial or redbrick british university. Distinct from the varsity novel |
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| antithesis of the archetypal dashing, brave, strong handsome hero caracter. A non-hero is given the vocation of failure. Vonnegut's billy pilgrim Slaughterhouse is a good example |
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| Account of the life of a picarron who is the servant of seveal masters. Satirises the hierarchical master/servant relationship. Examples include that of Amis's Lucky Jim, and you could argue, Walker's the colour purple |
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| Also known as formalism, concerned with the formal elements of fiction. Concerned exclusively with the text, subjecting it to a textual analysis, revealing elements of fiction. |
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| Intentional and Affective Fallacy |
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Intentional Fallacy assumes the author's intention can be knowable and important in interpretation
Affective fallacy assumes that the reader's emotional response can be predictable. New criticism avoids both of these fallacies |
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Using knowledge about a writer's life to interpret that author's works.
Allows readers to understnad how a writer adapted real life situation, and how their work evolved in response to crises in their lives |
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| New Historicism / Historical Criticism |
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Uses information about the time period during a work of literature was written to help interpet that work
similar, but not the same as biographical, which looks at the specific life of the author |
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| Why is new historicism the opposite of traditional historicism |
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| Because traditional historicism uses history to interpret a work of literature, while new historicism uses that literature to give us information about the period |
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| Study of the mind and behavior of characters in literary works - informed by freud. human mind is composed of the id, basic desires, the superego, conscience and morality, and the ego, the negotiation system that reuglates between the desires of the id and the rules of the superego. Associated with this are defense mechanism, such as those that exist with I stand here ironing. |
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| List some defense mechanisms |
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| Denail, repression, suppression, sublimation. projection, rationalization |
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| Sees patterns of recurring symbols, images and characters in the world's myths and stories. USes them to interpret literary works. These patterns of reccuring images are known as archetypes ,coined by Jung. |
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| Collective unconscious - reservoir in human psyche composd of universally understood images and meanings |
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| takes into account the influences and forces of the author's time, place and society upon his or her work |
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| Subfields of sociological criticism? |
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| Marxist criticism (Literature reflects the conflicts of economic power classes in society, and thus examines issues of money and power.), and feminist criticism (Literature reflects the conflicts between men and women in society, and thus examines issues of gender relations (Bohner and Grant 1333).) |
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| Language or manner of speaking unique to an individual class or region - example of Hurston's Spunk |
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| Reader response Criticism |
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| Response to new criticism, RR argues that meaning resides also in the interpretive processes of readers. Literary works can have multiplicity of meanings |
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Refers to an engraving on a statue or building
Also, the quotation on the title page of the book. In Atwood's the edible woman, the epigraph refers to The Joy of Cooking |
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| A viewpoint shift occurs when an author changes from a viewpoint to another in the same work. Example in edible woman changing from first person to third person |
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Traditionally, a poem that detailed the various parts of a
woman’s body. A form of catalogue verse
cataloguing a woman’s physical attributes. Established in the thirteenth century and gained prominence in the sixteenth century among the Elizabethan sonneteers. The act of singling out body parts of a woman and praising them individually |
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| Self-referentiality - self- reflexivity - involution |
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| A work of art that employs reference to itself and to its status as a work of art. I.E Atwood's incorporation of Alice in wonderland. Also like Renee Magrite's painting, Ceci n'est pas une pipe |
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| A work of fiction in which actual person, places, and/or events are presented under fictitious names. Author usually uses the form for encomiastic or satirical purposes. I.e dresden bombing and the people involved in Slaughter V |
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| A story that contains within it another story or stories, obviously Slaughter V, but possibly also allende's and of clay it was created, as Rodolophe remembers the time during war with his mother |
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| A patchwork of words, sentences, and/or passages taken directly from or inspired by another author or authors. A kind of imitation; sometimes, a kind of parody. Seen obviously in slaughterhose V, as there is certaintly an jambling of words and concepts |
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Form of drama that displays disillusionment and cynicism
Depicts human beings in absurd predicaments. Vonnegut often does this in slaughterhouse V, but can also occur in Lucky Jim |
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| Refers to the variety of ways that women support each other and relate to the world. A womanist refers in particular to a woman of colour who works for social change for improvement of the lives of other women of colour and, by extension, all humankind |
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| Three definitions of womanism |
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From womanish. (Opp. of “girlish”, i.e., frivolous, irresponsible, not serious.) A black feminist or feminist of color. From the black folk expression of mothers to female children, “You acting womanish,” i.e., like a woman. Usually referring to outrageous, audacious, courageous or willful behavior. Wanting to know more and in great depth than is considered “good” for one. Interested in grown-up doings. Acting grown up. Being grown up. Interchangeable with another black folk expression: “You trying to be grown.” Responsible. In charge. Serious.
A woman who loves other women, sexually and/or nonsexually. Appreciates and prefers women’s culture, women’s emotional flexibility (values tears as natural counterbalance of laughter), and women’s strength. Sometimes loves individual men, sexually and/or nonsexually. Committed to survival and wholeness of entire people, male and female. Not a separatist, except periodically, for health. Traditionally universalist, as in: “Mama, why are we brown, pink, and yellow, and our cousins are white, beige, and black?” Ans.: “Well, you know the colored race is just like a flower garden, with every color flower represented.” Traditionally capable, as in: “Mama, I’m walking to Canada and I’m taking you and a bunch of other slaves with me.” Reply: “It wouldn’t be the first time.”
Loves music. Loves dance. Loves the moon. Loves the Spirit. Loves love and food and roundness. Loves struggle. Loves the Folk. Loves herself. Regardless.
4. Womanist is to feminist as purple to lavender |
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Letter or epistolary novel
Novels sometimes include ltters, but letters must predominate for the novel to be considered a briefroman. Walker's the colour purple |
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| A text that operates alongside or as an auxiliary to a main text. Sometimes supplied by the author for rhetorical purposes |
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| prominent pop artist -> all his works were mechanically reproducible, used the comic book format. Ben-Day Dots |
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| New Humanity people, evoke this expression in GENx to refer to generation X as the new contemporary or younger generation |
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