Na tému Will Self Dorian http://en.wikipedia.org/wiki/Will_Self
http://www.guardian.co.uk/books/2003/jul/05/fiction.willself
Vážne ma upútala jeho možná kniha http://en.wikipedia.org/wiki/Cock_and_Bull
Mám rada poburujúce veci :D
streda 9. novembra 2011
pondelok 7. novembra 2011
Questions for literature
What rhyming scheme have this poem ?
Does thy life destroy - What do you think, what he destroyed ?
Why dark secret love ?
Questions for literature
The fish :
Why do you think that Elizabeth Bishon call the fish him , not it or her ?
Why do you think that Elizabeth Bishon let the fish go ?
How he was speckled ?
(He was speckled with barnacles,
fine rosettes of lime,
and infested
with tiny white sea-lice)
What symbolised rainbow in text or in general ?
Why do you think that Elizabeth Bishon let the fish go ?
How he was speckled ?
(He was speckled with barnacles,
fine rosettes of lime,
and infested
with tiny white sea-lice)
POETRY (20.10.2011)
Poetry and prose :
-the distinction between poetry and prose seems obvious at firt glance
-it i showever, complec and debatable subject
-one difference between these two forms which is frequently mentioned has to do with language or dictions;
Poetry is commnonly associated with :
Images – are words, which evoc feelings or mentalimages
-concrete descriptive phrases
-the figurative language of similes and metaphors
-the speacial „poetic diction“ (finny tribe – fish, feathered floc - birds)
-prose is associated with plain, straight forward statements, notaffected by imagery, and close to everyday or colloquial speech.
-though it is possible to agree with the statment that the language of poetry is more consciously chosen, with more attention to precision and suggestiveness than the language of common speech,
-there is not always a very sharp dividing line.
Shakespeare´s sonnets or Keat sodes are indeed rich lyimagistic, but there are lines which seem hardly .
-the refined and elevated „poetic diction“ was cutivated only at certain periods (eigtheenth century)and it was characteristic mainly of certain literarytypes, such as the heroicepic and the pastoral
-modern poets, and especially postomodern ones, may quit econsciously choose colloquial and even slangy diction
-on the other hand there are prose passages which are extremly ornate and figurative
-even in more simple, utilitarian prose- JohnLocke – explanatory similes and metaphors are used from time to time for emphasis
Any difference in language would be then only one of degree
-the same can be said about another commonly held as sumpiton, i.e. that meter and rhythm distinguish prose from poetry
-on the one hand, meter is not characteristic to all poetry
-and although poetry indeed tends to have a strongly marked rhythm, certain poems, as e.g. written in freeverse, have what might almost be considered prose rhythms.
-on the other hand, prose may have such strongly marked rhythm, as in the incantatory passages of the King James Bible or some of Ahabs speeches in Moby – Dick that it can be scanned .
-another possible distinction between poetry and prose seems at first glance to be too obvious to beworth mentioning.
-we have to say that the rist he intermediate form of prose poetry, in whichwords are arranged as if they made up a prose paragraph but have the ponounced rhythm of poetry
-on the whole, however, it seems fair to say that poetry and prose simply look quite diferent on the printed page
-although this may sound like a very sperficial distinction, it suggests a more fundamental point.
-itexpressesmeaning in a more concise and concentratedfashionthan prose, usingmany more ofthepossiblitiesofverbal art.
-to achievesuchconcentrationitusesvariousdevices, allusions, multipleconnotations, etc.,,,,
THE COMPOSITION OF POETRY
-the most important feature of poetry is its graphical appearance
-while prose can be , on the whole „divided into sentences, paragraphs and chapters.
-poetry is divided intoline and stanzas, lengt hierpoetical Works into books or cantos..
-absence of narrator so the rthan the poet himself
-absence of dialogues
THE COMPOSITION OF POETRY PROSODY
-the study of the principles of verse structure
-it is the poetic pattern of meter, rhyme, and stanza
The basic rhythmical unit in a poemis a line – the line can be divided into smaller units – syllables (long&short or stressed and unstressed)
-there are pauses between individual syllables
-usually we find the one stressed syllable forms a combination with one or two unstressed syllables and several such combinations in a line thus form a more or less regular pattern called metrical norm or measure or meter.
Genres
It´s a part of the literary theory;
Genre and Convention : genre – from Latin genus, generis – kind, sort, type
- What makes a genre genre is often controversial – many times it is just convention.
- Ancient classification : Drama , Epic, Lyric
- Modern classification : Poetry, Prose , Drama
Ø Subgroups – of lyric – elegy(žalospev), ode, sonnet, ballad.
Of drama – miracle play (life of a saint), mystery play (episodes of Old and new testamenst )
Morality play – in Middle Ages
In the Renaissance Chronicle or history play ;
Of epic – picaresque novel (picaro - rogue) Don Quixote, epistolary novel (S. Richardson´s Pamel), Bildungsroman (education), Kunstlerroman (artist)- Portrait of the Artist as a Young Man
Ø Psychological novel (The Brothers Karamazov)
Ø Socilogical novel (Steinbeck)
Ø Roman clef (characters stand for actual people),
Ø The Gothic novel
Ø Western
Ø The historical novel
Ø Detective story
Ø Science fiction, utopia, dystopia, etc.
-but also shorter genres : fabliau (in Middle Ages), fable, short story, long short story, novelette;
Elements of Fiction
Component parts of literary works – narrative Works:
§ Plot
§ Character
§ Setting
§ Point of view
§ Genre
§ Theme
PLOT :
Work of art as a complex unity;
It´s meaning – result of various tensions – contrasts, oppositions, even apparent contradictions .
Tension between form and language. Manner of writing and subject matter.
Critical reading – analysis of parts and details and a generalization on a total effect of a story or poem.
-any discussion of a literary work has to take into a consideration the fact that a work of art is a complex unity – its meaning , if we can speak about a unified meaning at all, is the result of various tensions – contrasts , oppositions, even apparent contradictions
Critical reading then consists of , usually an analysis of parts and details and a generalization on a total effect of a story or poem – structuralist approach
Plot is regarded to be one of the main components of Narrative Fiction (prose)
The plot is a narrative of motivated action, involving some conflict or question which is finally resolved;
A narrative does not necessarily mean a simple sequence of events although the normal mode of development in fiction is chronological, i tis often altered for special purposes
-flashback (scenes that occurred earlier)
-flash forward (e.g. Faulkner used it when he interrupted the flow of time to describe what is going to occur years after the events now being narrated)
If we say that plot is narrative of motivated action we mean that it differs from simple story because it includes causality.
-forster alsou introduces the element of suspense – essential to the mystery story
In his Poetics he insists on the three unities (action, time and place)
In his analysis of the complex tragic plot, he offers categories as peripeteia, etc
He refers to the part of the tragedy which precedes the critical change in fortune as the compication and thaht which follows as the unraveling or denouement.
This is later extended to include as many as 7 parts:
Exposition, inciting moment, developmnet, climax, denouement, final suspense, conclusion
-the events in a story may have symmetry (Illiad)
-may follow a linear movement in space of a quest Divine Comedy or Huckleberry Finn
-may move backward in memory and forward in time (Faulkner)
-the movement may appear to be aimless and loose (Faust)
-A B C D E – story
- C B E A D – plot
CHARACTER : usually appears in fictional Works, because there is a plot;
-the actions are performed by particular characters
-the chief character in a work is called the protagonist (or the hero or heroine) – also antihero
-if he or she is pitted against an important oponent, that character is called the antagonist (e.g. Hamlet protagonist, King Claudius antagonist)
-the relation between them is one of conflict (cf.Abrams)
E.M. Forster introduced new terms for characters:
- a flat character (a type or „two – dimensional“), according to Forster, is built around „a single idea or quality „and is presented without much individualizing detail – can described in one word or sentence ;
-a round character is complex in temperament amd motivation – represented with subtle particularity – similar as a person in real life, i.e. difficult to describe with adequacy, can always surprise us
-whether characters are flat or round depends on their function in the story : Hamlet, Gatsby – round, but Sherlock Holmes – flat
-characterizing – establishing the characters in a narrative by :
- showing – letting the characters to act and supposing that the reader himself will determine their qualities (dramatic method)
- telling – the author himself describes
-since the times of Henry James telling has been considered less artistic.
SETTING : the WHERE and WHEN of the story
-artificial
-natural
Has to be connected with character
POINT OF VIEW :
-any narrative has to be told by someone
-the someone is called narrator
With this category we are usually faced with a question : Whose words or minds are we reading when we read a poem or a story? – sometimes the answer might be easy – Daniel Defoe, Alfred Tennyson, William Faulkner, etc, - so the points of view are Defoe´s Faulkner´s
-but in the technical sense critict use the terms as referring to the eyes .
-omniscient point of view – it is the most familiar point of view in fiction – he takes us from place to place with ease and even move freely into and out of the mind of his characters.
-intrusive narrator
-unintrusive narrator
-third person limited – the narrator tells the story conventionally.
-first person narrator – can be distinguished between the narrative „I“ who is a witness of the matters he relates (Conrad), who is a minor participant in the story (Ishmael in Moby -Dick), or who is a central character (Huckleberry Finn, The Catcher in the Rye)
-steam of consciousness – not the written words but the thoughts become the medium of the story (Joyce, Woolf, Faulkner)
-ultimate attempt by a writer to absorb plot into character
-character´s point of view is central
-the mode of developmnet neither logical nor strictly chronological but psychological
-developmnet by association of ideas
-more objective – realism
-more subjective – modernism
THEME
According toAbrams : .. (theme) is applied to a general claim, or doctrine, whether implicit, or asserted, which an imaginative work is designed to incroporate and make persuasive to the reader. Milton states as the explicit theme of Paradise Lost to „ assert eternal Providence/ and justify the ways of God to men“
-explicit theme – clearly stated by the work
-implicit theme – dramatized by the interaction of meanings and imagery
Accoridng to Jonathan Culler in his Structuralist Poetics – „theme .. is the name we give to the forms of unity which we can discern in the text or to the ways we succed in making various codes come toghether and cohere“
Russian formalists at the beginning of this century suggested that „ the total structure of a literary work can be divided into the smallest thematic segments called motifs“
Tomashevsky claims that „ each sentence contains a motif of its own“
„Raskolnikov killed the old woman“, „The hero died“ , „A letter was received“
-each of these sentecnes expresses a motif of different importance and different dynamic character : some are dynamic (epic, open) Raskolnikov killed the old woman
Static (lyrical) It´s dark
-Raskolnikov killed the old woman – important motif which appears throught the whole story – leitmotif – striking clocks in Mrs. Dalloway;
Anglo American literary cholarship understands motifs a little bit differently
-i.e. as recurring themes :
Platonic love – the love of physical beauty will lead to love of the beauty of the soul and indirectly to the eternal absolute beauty
Courtly love – the lover is a devoted servant of his mistress who is not his wife
The Petrarchan convention – variation of platonic and courtly love – artificial diction, many puns and antitheses, pleading lover who is either lamenting the hard – heartedness of his mistress or urging her to relent;
-with themes are connected allusions – when a writer takes over the very phrases of earlier work to recall their context to the reader´s mind;
.this is done either, in case of earlier writers, to relate their subject to a long and glorious tradition;
-or for ironic purposes – in Joyce (Ulysses parallels between heroic is patterned on the Odyssey )- characters too – heroic Greek characters – ironic Irish characters (Leopold Bloom – Ulysses, Molly Bloom - Penelope)
-postmodern allusions – ridiculing - palimpsestic
-subject mater - story (látka)
The Story of An Hour
"The Story of An Hour"
Kate Chopin (1894)
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.
She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under hte breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.
She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.
There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.
And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!
"Free! Body and soul free!" she kept whispering.
Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. "Louise, open the door! I beg; open the door--you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."
"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window.
Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.
She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom.
Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife.
When the doctors came they said she had died of heart disease--of the joy that kills.
úvod do translatológie
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http://www.protranslator.eu/
Keď sa povie stolička , čo si predstavíte?
Ja zub ,hm ,divná :)
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