...[p. 272] 10. Fiction Overview The super-productive Dickens is the dominant figure of the Victorian novel, combiningelements of the Gothic - a genre made serious by the Brontë sisters - with a remarkablyimagined account of the social institutions of Victorian London. The mode of his novelsowes much to popular stage and melodrama, though language and character-creation arehis own. His rival, Thackeray, is represented here by Vanity Fair. A less theatricalrealism comes in with Mrs Gaskell and Trollope, and with the historian of imperfectlives in their fullest social settings, George Eliot. The triumph of the novel Modern images of 19th-century English life owe much to novels, and versions of novels.By 1850, fiction had shouldered aside the theatre, its old rival as the main form of literary entertainment. As with the drama at the Renaissance, it took intellectuals sometime to realize that a popular form might be rather significant. Human beings havealways told stories, but not always read the long prose narratives of the kind known asnovels. The reign of the novel has now lasted solong as to appear natural. There had been crazesfor the Gothic novel and for Scott’s fiction, yet itwas only in the 1840s, with Charles Dickens, thatthe novel again reached the popularity it hadenjoyed in the 1740s. Between 1847 and 1850appeared Jane Eyre, Wuthering Heights, VanityFair and David Copperfield. In 1860, Dickens wasstill at his peak, Mrs Gaskell and Trollope were going strong...
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...Gothic fiction combines the emotion of love, despair and horror. The genre continues to be a very successful genre of literature today and is widely used today for both entertainment and education purposes. For two centuries, G has gripped and frightens readers of different ages. During the eighteenth century England, Gothic had become synonymous with the Middle Ages. It was a period perceived as chaotic, unenlightened and superstitious. “Renaissance critics erroneously believed that Gothic architecture was created by Germanic tribes and regarded it as ugly and barbaric. This erroneous attribution continued through the eighteenth century.” (http://academic.brooklyn.cuny.edu/english/melani/gothic/gothic.html) Horace Walpole first introduced...
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...time of human progression byway of revolution, sexuality, and violence. Spartacus launched the trajectory of Kubrick's career as well as sparked his creative style, which he then perfected in 2001. Both of these films, the largest productions Kubrick worked on during the 1960s, are therefore exemplary in understanding the evolution of Kubrick's style. There are certain key traits that can be found throughout Kubrick's work, regardless of when said work was filmed or produced. These traits begin as subtle, fostered notions in Spartacus, culminating to a unique method of entirely visual storytelling in 2001. The first of which is Kubrick's use of color. Kubrick uses color intentionally, to reflect the mood or convention of the cinematic narrative. Examples of this will be given in accordance with examining both Spartacus and 2001, but it should be noted that Kubrick's use of color is not simply for aesthetics. Second is Kubrick's use of extended tracking-shots or extended stationary shots, the subject of which is often complex and intricate. Both the symbolic use of color and the style of shooting might appear merely as stylistic markers, but Kubrick uses them to further convey his theme. The theme, to which Kubrick adheres through most if not all is work is simple: man's attempt to control chaos, however militaristically strategic or technologically advanced, is eventually laid to waste via human error or chance. These aspects--the use of color, the extended camera shots, and the...
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...Gothicism in Detective Fiction The Hound of the Baskervilles By Yue Zhao Submitted to the School of Foreign Studies in Partial Fulfillment to the Requirements for the Degree of Bachelor of Arts in English (International Trade) Under the Supervision of Ms. Tang Jun June, 2012 Acknowledgement I would like to pay tribute to all those people who have given me a hand in the process of writing this thesis. Without their gracious help, the accomplishment of this thesis would not be so smooth. First and foremost, I deeply appreciate my supervisor, Ms. Tang Jun, who has provided me with so many valuable comments and constructive advice all the way through. But for her constant and invariable patience and kindness in guiding me, it would be more difficult for me to go through all the confusions and find a right direction. My thanks also go to the teachers who has given me suggestions, which benefit me a lot when I make the original plan, in the opening defence. With their help, I get to know where I should go next. Last but not the least, I extend my thanks to my classmates and my dearest parents for their encouragement and support. Wheneve I feel frustrated with my work, they are always there. Gothicism in Detective Fiction The Hound of the Baskervilles Abstract: As one of the most influential people who are never alive, Sherlock Holmes, written by Arthur Conan Doyle, attracts researches. The Hound of the Baskervilles...
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...Open main menu Last edited 2 days ago by Andreasmperu Literary genre EditWatch this page A literary genre is a category of literary composition. Genres may be determined by literary technique, tone, content, or even (as in the case of fiction) length. The distinctions between genres and categories are flexible and loosely defined, often with subgroups. The most general genres in literature are (in loose chronological order) epic, tragedy,[1] comedy, and creative nonfiction.[citation needed] They can all be in the form of prose or poetry. Additionally, a genre such as satire, allegory or pastoral might appear in any of the above, not only as a subgenre (see below), but as a mixture of genres. Finally, they are defined by the general cultural movement of the historical period in which they were composed. Genre should not be confused with age categories, by which literature may be classified as either adult, young-adult, or children's. They also must not be confused with format, such as graphic novel or picture book. GenresEdit For more details on this topic, see List of literary genres. Just as in painting, there are different types: the landscape, the still life, the portrait; there are different types of literary works. These types tend to share specific characteristics. Genres describe those works which share specific conventions.[2] Genres are often divided into subgenres. Literature, is divided into the classic three forms of Ancient Greece, poetry, drama...
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...the central characters of The Namesake and Into the Wild, written and directed respectively in 2003 and 2007 by Jhumpa Lahiri and Sean Penn. The notion of nomenclature as a means of redefinition is something with which we become familiar in The Namesake, as we observe Gogol Ganguli's ongoing struggle to identify with the Bengali culture of his parents, rather than the American culture in which he is immersed. Similarly, in an act of defiance against his family and the materialistic American society, Christopher McCandless in Into the Wild establishes a new identity for himself when he abandons all possessions and changes his name before venturing into the isolation of the Alaskan wilderness. Aided by devices, notably setting, symbolism, narrative technique, juxtaposition of minor characters and imagery, Lahiri and Penn endeavour to demonstrate the effects of culture, childhood and family, in particular, on shaping individuality. Diverse settings are employed by Lahiri and Penn to portray culture and its influence on the personas of the central characters. A ceremonial setting is common to both texts and foreshadows the protagonist's desire to retreat from his traditions. Gogol's 'annaprasan' is a customary Indian rice ritual for newborn children, who 'confront [their] destiny' by selecting a 'clump of soil ... ballpoint pen, [or] ... dollar bill' from a plate, respectively representing 'a landowner, scholar or businessman.' Gogol's refusal to choose an object, a rare act, alludes...
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...Through the exploration of a pair of texts composed in different contexts one can observe the significance of the ability of texts with varied form and context to still present and reflect similar values. A Room of One’s Own (hereafter AROO), a polemic, by Virginia Woolf and the play Who’s Afraid of Virginia Woolf (hereafter WAVW) by Edward Albee both address gender inequality and truth and illusion even though their contexts and form starkly contrast. An analysis of similar themes will provide a greater understanding of meanings and perceptions of the texts. AROO, written in the post-war period of the late 1920s, was composed in a time of great social change due to the destruction and turmoil of the War. Modernist writing highlights the absence of, and search for, meaning and features experiments with new forms. Loss and absence lie at the heart of Woolf’s art, resulting from the experience of loss as an adolescent – her half sister, father, brother and mother. Her refusal to give one single view of anything, offering instead multiple, often conflicting views which the reader has to balance and bring together is another modernist trait. In contrast, WAVW was written in a far more conservative context, and although Albee does challenge societal roles, he does it in a more blatant way. Written during a time of Cold War tension, where fear and instability was disguised beneath the facade of the Great American Dream, Albee is still able to paint a dystopian image of the stereotyped...
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...Television Studies ------------------------------------------------- Professor Eduardo Cintra Torres 1ªAula, dia 22 de Setembro de 2015 Programme: 1. Introduction to Television Studies; 2. Television text (contents); 3. Television agency; 4. Television and technology; 5. Television history; 6. Viewer, audiences: I, We, They. Why study television? People wrote about television as a general media. There was a certain resistance to the study of TV. To study popular culture was parallel to the fear of the death of high culture. Umberto Eco (1964) and others gave special attention to TV and other “minor arts”. The interest in the study of reader/receiver increased in the 60’s in the universe of high culture and the academy. R.Barthes – encode/decode. Later the canonization of popular mass culture in Anglo-American countries changed the vision of the society about the TV. In the US they reflected about the industry. Cultural industries – television is culture but it’s also an industry. If we think in Hollywood as a dream factory we have also a culture industry. Nowadays popular culture is a part of our life. Common sense and TV – resisting the analysis of television is also a consequence of commons sense. But there is a paradox: it is so easy to watch that it becomes difficult to analyze. TV is inscribed in daily life. TV is transparent. Popular culture, namely TV, has a supposed transparency: what I see is what it looks likely...
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...http://www.historytoday.com/jerome-de-groot/signposts-historical-fiction These were some of the questions raised at a recent conference at the Institute of Historical Research at which History Today Editor, Paul Lay, hosted a discussion between Hilary Mantel, author of Wolf Hall, and the Tudor historian David Loades. Historians often describe themselves as detectives, seeking out a kind of truth among the conflicting evidence of the past. There is, furthermore, a large and growing subgenre of historical crime fiction. From C.J. Sansom to Philip Pullman, from Orhan Pamuk to Walter Mosley, from Ellis Peters to Boris Akunin, novelists have been keen to use the past as a backdrop for their stories of detection and mystery. The most famous historical detective might be Brother William of Baskerville in Umberto Eco’s peerless The Name of the Rose (Il nome della rosa, 1980). Recently we have seen a flowering of historical crime fiction as the subgenre attains maturity and becomes increasingly popular and innovative. Jason Goodwin, Philip Kerr and Susan Hill were all shortlisted for the prestigious Crime Writers Association Dagger this year (recent historical winners include Arianna Franklin, Jake Arnott and Craig Russell). Clearly the combination of thriller, crime and historical detail is compelling. Anne Perry’s new Inspector Pitt novel, Betrayal at Lisson Grove (out in paperback from Headline this year) is a pacy, twisting thriller. It is 1895 and Pitt is up against a conspiracy...
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...Ministry of Education of the Republic of Moldova State Pedagogical University “Ion Creangă” Foreign Languages and Literature Faculty English Philology Department DIPLOMA PAPER Figurative Language, Language Shaped by Imagination in Katherine Mansfield’s Short Stories Submitted by: the 4th year student Paşcaneanu Mariana Group 404 Scientific adviser: Tataru Nina Senior Lecturer Chişinău 2012 Contents INTRODUCTION 2 CHAPTER I: SHORT STORY AS A FORM OF FICTION 5 I.1.Common Characteristics of a Short Story as a Form of Fiction. Its Plot and Structure. 5 I.2. Figurative Language. Definition. Function. 9 I.3. Imagery – Language that Appeals to the Senses 11 I.3.1. Simile, Metaphor and Personification. 13 1.3.2. Symbol and Symbolism. 26 I.3.3 Allegory. 30 CHAPTER II: LANGUAGE SHAPED BY IMAGINATION IN K. MANSFIELD’S SHORT STORIES 36 II.1. Figurative Language, Symbolism and Theme in "Her First Ball": 37 II.2. Katherine Mansfield – Techniques and Effects in A Cup of Tea. 41 II.3. Literary Colloquial Style in “Miss Brill” by K. Mansfield. 49 II.3.1. Lexical features—Vague Words and Expressions 49 II.3.2 Syntactical and Morphological Features 52 II.3.3 Phonological Schemes of the Figures of Speech 55 II.4. Simplifying Figurative Language in K.Mansfield’s Short Stories 60 CONCLUSION 64 BIBLIOGRAPHY 66 APPENDIX 70 INTRODUCTION Figurative Language is the use of words that...
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...Harrington offers a narrative in how poetry’s entity to the public shifted from rather an everyday outlet or enjoyment to that of a scholarly, more objectified and purposeless craft. He starts his overview explaining how F.O. Matthiessen is left having “discovered a renaissance for American Literature that did not include poets,” (Harrington P.496) besides a sole exclusion: Walt Whitman. Poetry has always hung on the precipice of whether being literature or not; swayed, back and forth, by the changing movements of the decades. I’ve come to understand after reading Harrington that poetry is constantly being redefined and reorganized by its place in society and its critics. Yet generally over the last several or more decades its’ art has remained secular from what is knows as ‘American Literature’. Harrington believes “the institutional history of poetry in the US suggests both the importance and the genealogy of the literary- critical split between American poetry and American literature,” (Harrington P. 496.). He notes that poetry used to play a crucial role in cultural conflicts and almost digesting the current day-to-day. He then goes on to argue in which I agree, that by now holding aside poetry as something less in turn stripping its influence on us, literature to us is a contradictory thing. Not including poetry in literature for the people reading it is silly for the two are so intertwined. So much fiction has taken from or found inspiration from poetry. Harrington states...
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...International Journal of Applied Linguistics & English Literature ISSN 2200-3592 (Print), ISSN 2200-3452 (Online) Vol. 2 No. 4; July 2013 Copyright © Australian International Academic Centre, Australia A Stylistic Analysis of D.H. Lawrence’s ‘Sons and Lovers’ Nozar Niazi English Department, Lorestan University, Khorramabad-Iran E-mail: nozar_2002@yahoo.co.in Received: 04-04-2013 doi:10.7575/aiac.ijalel.v.2n.4p.118 Abstract Accepted: 14-05-2013 Published: 01-07-2013 URL: http://dx.doi.org/10.7575/aiac.ijalel.v.2n.4p.118 This paper aims at analyzing D.H. Lawrence’s ‘Sons and Lover’ using a stylistic approach. Stylistics is a study of the amalgamation of form with content. The stylistic analysis of a novel goes beyond the traditional, intuitive interpretation, because it combines intuition and detailed linguistic analysis of the text. The defining elements of modern language are within the text itself, not prescribed from outside. With modernist texts, usually understanding comes from close study of the language system defined within the text itself. Form, technique and style are considered not as a mere vehicle of the content of the story, but an integral part of the work’s meaning and value. In our analysis of ‘Sons and Lovers’ the resources of language: lexis, syntax, phonology, figurative language, cohesion and coherence, are discussed in relation to the style of discourse in order to explore hidden meanings in the text. The resources of language are shown...
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...First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures in English Free Resources LIST OF CONTENTS CAPE® Literatures in English Syllabus Extract 3 CAPE® Literatures in English Syllabus 4 CAPE® Literatures in English Specimen Papers: Unit 1 Paper 01 Unit 1 Paper 02 Unit 1 Paper 03/2 Unit 2 Paper 01 Unit 2 Paper 02 Unit 2 Paper 03/2 48 55 59 66 72 76 CAPE® Literatures in English Mark Schemes: Unit 1 Paper 01 Unit 1...
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...IS NOVEL? A Novel is prose narrative of considerable length and some complexity that deals imaginatively (fictional) with human experiences (near to life) through a connected sequence of events involving a group of persons in a specific setting. Previously it was known as fictional narrative or narrative prose. ( A Narrative opens “in media res”. This means it opens usually with the hero at his lowest point “in the middle of things”, earlier portions of the story appear later as flashbacks..) Main characterstics of novels are theme, plot or setting, structure, action or events in a sequence, strong characterization and expressive language. The genre of extended prose fiction or narrative fictional prose i.e. novel is rooted in the tradition of medieval "romances" or the heroic romance in prose. The term ‘roman or romance’ linked fictions back to the histories that had appeared in the Romance language of 11th and 12th-century southern France. The typical Arthurian romance became a fashion in the late 12th century. The unexpected and peculiar adventures surprised the audience in romances like Sir Gawain and the Green Knight (c. 1380).The romance had become a stable generic term by the beginning of the 13th century, as in the Roman de la Rose (c. 1230), famous today in English through Geoffrey Chaucer's late 14th-century translation. Chaucer's Troilus and Criseyde (1380–87) is a late example of this European fashion. Prose narrators wrote narrative patterns as employed in fairy...
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...Consider the presentation of romantic love in “Jane Eyre” making wider reference to “Wide Sargasso Sea” “Jane Eyre” by Charlotte Bronte, published in 1847, has one key theme which is love. However it also contains Gothic conventions throughout which prevents the novel from being merely an archetypal romance. The novel is about a young woman who is isolated from people. However, when she gets a job working for Mr Rochester she falls in love with him. Later it is revealed that he's married to a woman, who is portrayed as being mad. In contrast, the romantic love in "Wide Sargasso Sea" written in 1966 is presented in a different way. Although Antoinette initially has a hopeful attitude to romantic love in Wide Sargasso Sea, the attitude of the man, especially in section two reveals that he only marries her for her money. Ellen Michetetii says “the heart and soul of ‘Jane Eyre’ is the passionate love between Jane and her employer.” "Romance" is defined in the Chambers dictionary as "expressive and pleasurable feeling from an emotional attraction towards another person associated with love". Leslie Gelbman says a romance must make the “romantic relationship between the hero and heroine… the core of the book”. This is what “Jane Eyre” does. Similarly “Wide Sargasso Sea” focuses on a single relationship the one between “the man” and Antoinette; however, although the relationship in “Jane Eyre” is reciprocal, in “Wide Sargasso Sea” Antoinette’s love is not returned. Rhys based Antoinette...
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