...inspiration and motivation to spawn some of the great literary works that have lasted the test of time. Poems, books, and operas all found roots in the use of consumption with metaphors, symbols, and images; defining a horrific and dramatic death, reversing it into the personification of beauty and grace. This paper examines consumption as it converges on the minds and pens of 19th century authors. The Art of Death: Consumption in the 19th Century Consumption in the 19th century was a widely misunderstood illness that by its very nature created some of the most dramatic writings. Poets, authors, and playwrights alike all used consumption as a form of expression in their writings. They found a certain dignity within the disease that probably affected everybody in one fashion or another. Poets like Edgar Allen Poe and Henry David Thoreau were influenced by the people in their lives that were close to them who contracted the disease. Others, like John Keats and RL Stevenson, had a direct connection as they themselves dealt with the deadly, predetermined path on which they must walk. Authors Victor Hugo, Puccini, and Verdi all used consumption as a catalyst to some greater, higher meaning in their stories. It was delicately embellished in some writings, while others it was shown with deep, dark metaphors. “Consumption was the leading cause of death in the 19th century, a scourge that affected men, women, and children of all ages, classes and geographic locations. A chronic malady...
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...PREFACE This major project examines the indispensable desiderata of Transcendentalism in comparison to the Dark Romantics background and how these technicalities prepare this work of art as an influential synthesis of human imagination incorporated with mystic facts. Transcendentalism and Dark Romanticism were two literary movements that occurred in America during roughly the same time period (1840—1860). Although the two had surface similarities, such as their reverence for Nature, their founding beliefs were quite different, enough to make one seem almost the antithesis of each other. Moreover one’s genesis is ventured out from other; i.e. Dark Romanticism from the roots of Transcendentalism or precisely the lacunae are best determined for raising up the term called Dark Romanticism. Contents S. No. Page no. Chapter 1.........................................................................................................4-14 Chapter 2.........................................................................................................15-23. Chapter 3..........................................................................................................24-27 Resolution.........................................................................................................28-29 Work Cited................................................................
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...Poetry, prose, sonnets, drama, plays, short stories and novels are concepts that first came to my mind when I think in the question “What is literature?” The definition of literature has change over time. The only thing that is certain about the meaning of literature is that the definition will change. The concepts about what is literature about also change over time. In order to get a clear understanding of exactly what literature is, first we need to know its definition. According to the Merriam-Webster, literature is defined by “the body of written works produced in a particular language, country, or age; the body of writings on a particular subject: printed matter.” Literature has to do with letters, but some people often think that literature is only one thing, not knowing that it is composed by several elements that we use every day. These important elements include poems, prose, sonnets, drama, plays, short stories and novels. Poetry is created from the soul. It comes from your emotions and it needs every piece of creativity inside you. It has been called the art of “saying the unsayable” because trough this you can express your feelings with no limit, and nobody can tell you that is wrong. If you make a poem and you think it is not good enough, well it is no good. You as the author or the reader, can only judge if it is good or but for you but maybe for some one else it is the opposite as it is for you. A good place to start when looking back at how poetry...
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...The Love and Grief of the speaker for Annabel Lee Edgar Allan Poe’s poem “Annabel Lee” is one of his most famous and well-loved poems and contains themes that appear in many of Poe’s work, such as the death and burial of a beautiful woman, undying love, and deification of her memory. It was written in 1849 and was published shortly only after Poe’s death that same year. Aside from “The Raven”, “Annabel Lee” as Brod Bagert stated is marked by a deep sadness over the loss of a loved one (4). Seeing as the structure of the poem is almost as if someone were telling a story, the audience may very well be any attentive group of listeners, listening to a love story. In the poem, the speaker is an individual love-struck by Annabel Lee. The poem's speaker describes his love and the love he shares with Annabel Lee, which began many years ago in a so-called "kingdom by the sea". Though they were young, their love for one another burned with such an intensity that as the speaker tells even the powerful forces such as death can’t keep him and Annabel Lee apart. The poem, as Dawn Sova noted recounts a love so powerful that even the angels feel envious of the bond, which transcends death and overcomes both human and cosmic forces that seek to “dissever my soul from the soul of the beautiful Annabel Lee”. (25) Every day, so overrun by grief and love, the individual (the speaker) goes into the grave of his Annabel Lee by the sea to lie down with her. Who is Annabel Lee? Let us find out...
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...Alejandro Almonte Percy Haynes English 201 September 27, 2014 “A Question of Motive in The Tell Tale Heart” Why did the man in The Tell Tale Heart kill the old man? That is the question that Poe asks you to ponder in his story yet he gives us scant clues as to the answer. The motive eludes us even as the murderer is guilted into confessing by his own mind and then goes on to thoroughly detail his gruesome deed. The murderer will be referred to as “he” although his sex is never revealed, he refers to himself as a “madman” within this first person narrative (Shen, 287). This piece is tightly written, short to read and it builds at a frantic and hurried pace and then climaxes abruptly. This leaves the reader craving more details and to wishing confirm the man’s motives. Poe’s story consists of the author’s unique ability to create grotesque inventiveness and superb plot construction (Shen, 275). Some interpret the old man as the father of the murderer and his act a release of built up tension and resentment toward him (DeBord, 1). There appears to be no familial bond in the heart of the man when describing the old man, he also lacks the rage that one would expect if the act were resentment fueled murder. Instead the old man seems to be a fond acquaintance of our murderer, because they reside within the same home it can be hypothesized that one or the other is simply a boarder in the other’s home. There is no malice, no greed and no disdain to motivate him, he even...
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...natural phenomena around them. The Greek poet Theocritus began writing idylls in the third century B.C.E. to glorify and honor the simplicity of rural life--creating such well known characters as Lycidas, who has inspired dozens of poems as the archetypal shepherd, including the famous poem "Lycidas" by John Milton. An idyll was originally a short, peaceful pastoral lyric, but has come to include poems of epic adventure set in an idealized past, including Lord Alfred Tennyson's take on Arthurian legend, The Idylls of the King. The Biblical Song of Songs is also considered an idyll, as it tells its story of love and passion by continuously evoking imagery from the natural world. The more familiar form of surviving pastoral poetry that has retained its integrity is the eclogue, a poem attuned to the natural world and seasons, placed in a pleasant, serene, and rural place, and in which shepherds often converse. The first eclogue was written by Virgil in 37 B.C.E. The eclogue also flourished in the Italian Renaissance, its most notable authors being Dante and Petrarch. It became something of a requirement for young poets, a form they had to master before embarking upon great original work. Sir Philip Sidney’s Arcadia and Edmund Spenser’s The Shephearde’s Calendar are English triumphs of the form, the latter relying on the months of the year to trace the changes in a shepherd's life. In "Januarye," Spenser compares the shepherd's unreturned affection with "the frosty ground," "the frozen...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...1. Literature of the 17th century. John Milton. “Paradise Lost”. John Bunyan. “Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles...
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...Rhetorical Terms/Devices Figurative language is the generic term for any artful deviation from the ordinary mode of speaking or writing. It is what makes up a writer’s style – how he or she uses language. The general thinking is that we are more likely to be persuaded by rhetoric that is interesting, even artful, rather than mundane. When John F. Kennedy said, “Ask not what your country can do for you, ask what you can do for your country” (an example of anastrophe), it was more interesting – and more persuasive – than the simpler, “Don’t be selfish.” Indeed, politicians and pundits use these devices to achieve their desired effect on the reader or listener nearly every time they speak. The stylistic elements in a piece of writing work to produce a desired effect related to the text’s (and author’s) purpose, and thus reveals the rhetorical situation. In classical rhetoric, figures of speech are divided into two main groups: Schemes — Deviation from the ordinary pattern or arrangement of words (transference of order). Tropes — Deviation from the ordinary and principal meaning of a word (transference of meaning). *Important Note: Words marked with an asterisk* are words for which it would be impossible for you to write 3 examples for your weekly vocabulary assignment. In those cases, please write only the definition, in your own words, and the rhetorical uses/effect of that device, or do what you are instructed to do under those words. Please mark these words that deviate...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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...AS English Language [pic] [pic] [pic] Fiction style models and tasks – 2012/2013 Style Model Workbook Style models are examples of a type of writing used to give you an idea of the features used when adapting a particular style and form. As you will be required to include a fiction and non-fiction annotated style model as part of your coursework folder we have compiled a selection of materials to give you a head start. The two booklets (one fiction, one non-fiction) will contain the type of extracts you should be looking for and the questions that accompany them will help you to annotate the materials appropriately. You will be given some of the extracts to study in class and some to complete as homework tasks. There may be some materials that you haven’t been directed to by your teachers, these will make very good additional preparation and you should look at these in your own time. All the resources, and some additional style models, can be found in the AS Language section of Moodle. AS LANGUAGE COURSEWORK You must keep all work during the production of the coursework in your folder. You will need all drafts and style models for part of your final grade. Criteria • Two pieces of your own writing • Each piece must have a different audience and purpose • You should write with a specific genre in mind • Pieces should be designed with a real publication in mind • Two...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...MODULE 1: INTRODUCTION This module provides an overview on the subject of art appreciation for those entirely new to the subject. This is a complex topic to deal with and it is impossible to have a truly comprehensive discussion on the topic in such a brief essay. The student is advised to consult more advanced texts to gain further understanding of how to appreciate art more fully. HUMANITIES: What is it? • The term Humanities comes from the Latin word, “humanitas” • It generally refers to art, literature, music, architecture, dance and the theatre—in which human subjectivity is emphasized and individual expressiveness is dramatized. HOW IMPORTANT IS HUMANITIES • The fields of knowledge and study falling under humanities are dedicated to the pursuit of discovering and understanding the nature of man. • The humanities deal with man as a being of purpose, of values, loves, hates, ideas and sometimes as seer or prophet with divine inspiration. • The humanities aim at educating. THE ARTS: What is it? • The word “art” usually refers to the so-called “fine arts” (e.g. pictorial, plastic, and building)– and to the so-called “minor arts” (everyday, useful, applied, and decorative arts) • The word “art” is derived from arti, which denotes craftsmanship, skill, mastery of form, inventiveness. • Art serves as a technical and creative record of human needs and achievements. The word 'art' is often used in our daily lives. However, when...
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