Summary: Literary Studies, Zusammenfassungen von Englische Literatur / English Literature

Zusammenfassung introduction to literary studies, narratives, drama etc mit beispielen

Art: Zusammenfassungen

2022/2023

Hochgeladen am 14.06.2026

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Introduction
1. Why does literature matter?
-Nazi book burnings not only for personal entertaining; also, as an integral part of our
-banned books society
-(against) censorship?
à - communicates ideas, feelings, values, a.s.o
- Literature as providing aesthetic pleasure, entertainment, provocation, stimulation.
- Theodor W. Adorno: “Engaged literature” (=books have power, they can influence people and
Their Opinions) ; f.e: “Uncle Bens cabin” ( about how cruel slavery is)
è
engaged literature= literature seen as not being an isolated piece of art with no relation to
reality BUT as active participant in the social political realities of societies and our world
- “didactic cum edifying endeavor” (Frank. B. Farrell); literature is aimed at the betterment of
Human life in general
è Literature is teaching empathy.
2. What is literature?
A History of literature:
è Writing has been a cultural practice for more than 4 millennia; the concept of literature is still
relatively young.
Context of English:
è Around 1400: literature = human learning in sense of education
è By 1800: literature designed both fictional/ imaginative and non-fictional writing.
è Since mid-19.th century: literature= written work valued for artistic merit
è Since 1960: literature= any kind of written communication
è Today: use both, a broad understanding as literature as text; and a more restrictive
understanding of literature as a particular type of text
è literature (writing, art) VS. Literature (a body of specific a culturally valorised texts; to learn
sth.)
è Hermeneutics: Textual interpretation aiming at a full understanding of the whole
How can we characterize literature?
Terry Eagleton: “Literature has no essence whatsoever”
è there is no consent set of inherent features: with every characteristic we come back to the
realization, that there are always exceptions.
è no characteristic for once and for all
è Goal of literary studies: reach an intersubjective agreement. (intersubjektive: komplexe
Sache für alle einig)
- Meaning does not exist “objectively” somewhere “out there” but is created
in the exchange between subjects (people/scholars)
- Meaning is negotiated
-> especially the acknowledgement that our judgments and findings are not value-free and
objective is has become highly important for literary theory & history
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Introduction

  1. Why does literature matter?
  • Nazi book burnings not only for personal entertaining; also, as an integral part of our
  • banned books society
  • (against) censorship? à - communicates ideas, feelings, values, a.s.o
    • Literature as providing aesthetic pleasure, entertainment, provocation, stimulation.
    • Theodor W. Adorno: “Engaged literature” (=books have power, they can influence people and Their Opinions) ; f.e: “Uncle Bens cabin” ( about how cruel slavery is) è „ engaged literature” = literature seen as not being an isolated piece of art with no relation to reality BUT as active participant in the social political realities of societies and our world
    • “didactic cum edifying endeavor” (Frank. B. Farrell); literature is aimed at the betterment of Human life in general è Literature is teaching empathy.
  1. What is literature? A History of literature: è Writing has been a cultural practice for more than 4 millennia; the concept of literature is still relatively young. Context of English: è Around 1400: literature = human learning in sense of education è By 1800: literature designed both fictional/ imaginative and non-fictional writing. è Since mid-19.th century: literature= written work valued for artistic merit è Since 1960: literature= any kind of written communication è Today: use both, a broad understanding as literature as text; and a more restrictive understanding of literature as a particular type of text è literature (writing, art) VS. Literature (a body of specific a culturally valorised texts; to learn sth.) è Hermeneutics: Textual interpretation aiming at a full understanding of the whole How can we characterize literature? Terry Eagleton: “Literature has no essence whatsoever” è there is no consent set of inherent features: with every characteristic we come back to the realization, that there are always exceptions. è no characteristic for once and for all è Goal of literary studies: reach an intersubjective agreement. (intersubjektive: komplexe Sache für alle einig) - Meaning does not exist “objectively” somewhere “out there” – but is created in the exchange between subjects (people/scholars) - Meaning is negotiated - > especially the acknowledgement that our judgments and findings are not value-free and objective is has become highly important for literary theory & history
  1. Literary communication: Genre: Methods for analysing a text: Text: focus on the literary work itself especially questions of language and meaning (f. e: textual philology, rhetoric, formalism, structuralism, new criticism, semiotics, deconstruction) Author: psychoanalyst reading à finding out about the author’s background (f. e: Kafka) Context: Does the author have free will? Is he somewhat restricted? How is the text influenced by historical matters we might not be aware of? (Marxism, New Historicism, feminism, gender studies, etc.) Reader: reception theory, reception history, reader- response criticism Genre: è Rare, Kind è Semantic origins and affinity with categorization in natural philosophy è Replaces “kind” in the sense of “a class of individuals or objects distinguished by attributes possessed in common è “Distinguished by attributes” e.g., crime novel vs. fantasy novel / romantic comedy vs horror Different Level of Organizing Literature Period refers to diachronic dimension (=trough time) (literature history): relating to phenomena as they change over time (the development of comedy from Shakespeare to the Victorian age) Genre refers to synchronic dimension (=simultaneously) (classification of literature): concerned with literary phenomena that exist at one point in time (the representation of time in modernist narrative vs. modernist poetry) Genre as “natural form”: 2 major traditions: - > 1. Listing of Genres: 2000 years
  2. Systems of genres derived from Aristotle; Renaissance division of genres:

Genre as “Implicature”

  • Implicature means that something is “implied” rather than explicitly stated.
  • Genres form a system of groups or families of texts defined by sets of conversation, which guide both the writing and the texts. Genres are often distinguished by…
  • The form of communication (narrative/drama)
  • Mood or attitude (elegy/satire)
  • Content (crime/ science-fiction)
  • The relation to reality (mimetic vs. non-mimetic)
  • Aesthetic effect (comedy/horror)
  • Or a combination of these
  • Also changes over time è Genres “systematically form the objects of which they speak” How do we identify the genre of a specific text?
  1. Texts do not “belong” to genres, but we “genres” as an interpretative act in our reading. è Can we attribute any genre to any text? è What are the limits
  2. Generic Cues or Promptings è Paratextual cues (preface, headline, blurb) è Contextual information (place of publication; book/ media format) è Content (plot, characterization aso) è 3. Practical/ commercial Applications è Book trade, bookstores, libraries Family Resemble:

Poetry è Amongst the oldest genre of literary history (going back to antiquity) è Up to 18th^ century: - no uniform definition (oppose to epic and dramatic)

  • Until then: poetry was not “theorized” as third genre
  • Family resemblance Defining poetry: (Jürgen Link)
  • Phonological level (sound, meter, rhythms, rhyme)
  • Morphological level (word formation, repetition of words)
  • Syntactical level (parallel structuring of sentences, sentence parts, inversion)
  • Semantic level (metaphors) Müller-Zettelmann: Mehrkomponentenmodell è Relatively briefly (opposed to a play/ novel) è Reduction, condensation è Heightened subjectivity è Musically è Phological, morphological, syntactical, semantic hyper structuring è Deviation from ordinary language and heightened artificially è Heightened aesthetic self-referentially (Sonnet 18 fulfils everything) How does poetry work?
  • English Sonnet Structure: - Quatrain (4 lines) visual dimension
    • Quatrain
    • Quatrain
    • Couplet (2 lines)
    • Volta line 12
    • Mostly strict rhyme scheme (ABAB CDCD EFEF GG) Terminology (stanzas=strophen): Figurative Language Wortfiguren: Satzfiguren: Extending the meaning of the original worduse concerned a change in syntax/ arrangement of words & phrases

(Not always clear-cut) Drama: What is Drama? è Literary genre that can be performed on stage è Presents an action in an unmediated way, through speech or dialogue of the involved figures è Speech is framed by secondary text

  • Primary text : what is said
  • Secondary text : f.e.: title, scenes descriptions, list of characters, names when they say sth.) Internal or external level of communication è Communication always takes place in both, the external and internal level of communication Internal : characters talking to each other (sender and receiver constantly change) External : layer of performance (known as epic communication)

Types of character speech: Analysing character speech

  • Content (WHAT)
  • Form (HOW): coherence, quantity (dominant or withdrawn), respect for others? Interrupting? Many disruptions? + register and style
  • Function (WHY): expressive (of emotions), referential (informative), appellative (to demand sth), phatic (to maintain communication and contact), metalingual (reflects on language as topic), poetic (foregrounds language: imagery, sound and rhythm) Dialogue: Conversation between two (duologue) or more (polylogue) characters Monologue: è “self-contained, autonomous speech… of a reasonable length” è Speaker is not alone on stage è Speech is either addressed to others or uttered as if the speaker was alone è Important source of information for audience or characters (both) Soliloquy : speech during which the speaker is alone on stage è often presentation of speaker’s innermost thoughts and feelings è important devices of characterization Aside : è speeches that are not heard by the other characters on stage è usually indicated as such in the secondary text è three types: - Monological aside - Dialogical aside - Aside ad spectatores (to audience, breaking 4th^ wall) Constellation of characters: the relation of character to another (fairly constant= lovers, enemies…) Configuration of characters : the character that are present on stage at any particular point in the course of the play. (Changes every scene) Communication systems è Communicative signals may have different value and implications at the external and internal lever of communication è Discrepant Awareness : different levels of awareness as a result of different levels of access to information - Between 2 Figures - Between audience and characters - Reasons: audience is in all secens, knows things that some characters don’t - Characters might not reveal all their motivations to the audience - Result of discrepancy between internal and external communication systems

è Audience gets information - > characters (and audience) get information’s Dramatic irony: è Result of superior audience of awareness è Audience superior audience adds an additional layer of meaning to the stage action that directly contradicts (wiedersprechen) or undermines (untergraben) the meaning intended by the characters è Verbal dramatic irony: Othello calls Iago “a man of honest” è Non-verbal dramatic irony: Romeo & Juliet; death scene è Not irony that’s intended by a character (Iago: “my lord, you know I love you) = irony in drama Characterization: Who (subject) characterizes whom (object) as being what (as having which traits or properties) è Who: either one of the characters (-> figural characterization) or the (implied) author (-> authorial characterization)? è Whom: any figure in the play è As what: any quality or character trait Techniques of characterization: è Explicitly: - direct commentary

  • Description in secondary text
  • Telling names è Implicitly: - non verbal qualities: behaviour, costume, gestures, facial expression
  • Verbal qualities: dialect, quality of voice
  • Contrast with other characters (-> configuration) Figure Conception: è How is the anthropological model of a human being “translated” into fiction? (Anthropomorphic characters) è 3 Dimension:
  • How multi-faceted is a dramatic figure? How many character traits?
  • Does a figure undergo development or not?
  • How complex and psychologically realistic is a character portrayed? è Statistic vs. dynamic figure conception? è Mono- vs. multidimensional figure conception è Personification VS. type VS. individual è Open (we have ambiguities, and we are not really able to group a character completely) vs. closed (information about character fully explains him/her) figure conception.

Major elements of epic communication: Othello: Comedy and Tragedy: Tragedy: Prosperity to Adversity Comedy: Adversity to Prosperity è Tragedy : plays that take on issues of death, of suffering, of identity, of human nature, of human meaning.., They never supply tendentious answers to any of these issues

  • instead explore, curse, rage, joy, wonder in ways that shift as we move from culture to culture and age to age è Modern definition : used to describe disaster, misfortune, not necessarily only in the context of plays but …generally involving strong emotions

Aristotle: “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude” è Imitation: mimesis (imitates reality) è Action: at the heart of drama, imitated in performance, requires agents, dramatic language and a plot (serious: content is serious, depicts suffering and death) è complete: linear structure, unities of time, place, action (single action in a single place within one day) - > beginning, middle and end è magnitude: not too long and not too short, room for change of fortunes from good to bad/ bad to good è in Othello:

  • Exposition (Act I): è Introduction of Iago and his plots è Othello´s secret marriage with Desdemona è first conflict resolved over impending war → first sign of complication
  • Rising Action (Act II): Iago´s new scheme involving Cassio, Roderigo, Desdemona, Othello
  • Climax (Act III Scene 3): Uncertainty, will Othello be convinced his wife is unfaithful? Peripeteia: Moment of reversal after which the protagonist’s fate changes irrevocably
  • Falling Action (Act IV and 5.1): everything moves towards death, failed assassination of Cassio and killing of Roderigo
  • Catastrophe (Act V): Othello murders Desdemona, Anagnorisis: Othello runs at Iago Othello as Tragedy: Theorizing Tragedy: Aristotle è The aim of tragedy is katharsis(purifying/purging/washing) of emotions through the experience of phobos (fear) and eleos (pity) Key Elements: Tragic hero : highly renowned and prosperous, above common level, not eminently good and just, not a man of vice or depravity but commits some error Hamartia (error): error in judgement by the hero Peripeteia (reversal): complete turn in the direction of the action and in the protagonist’s fortunes

Narrative

Narrative 1

è Storytelling

Def.:

  • representation of a possible world in a linguistic medium
  • centers on 1 or moreprtagonists of an anthropomorphic nature (Anchored in spatio-temporal structure/ embedded in action-plot structure)
  • focusses on experiences of these protagonists.
  • narrator functions as mediator (Vermittler) - > shapes narrated world imaginatively at level on text.

Story: Content of narration (events, characters, settings) - > What is told? Discourse: Form of the narration (narrator, narratee) - > How is the story told? Story VS. Plot: Story: chronological sequence of events (what happened): “The king died and then the queen died.” Plot: causal and logical structure which connects events: “The queen died out of grief for the king” Telling VS. Showing Telling: The narrative evokes in readers the impression that they are told about the events.

Showing: The narrative evokes in readers the impression, that they are shown the events of the story or that they somehow witness them (z.B.: viel wörtliche Rede) Character speech VS. Narrator Speech (= ways to look in characters mind) Narrator Speech:

  • Psychonarration (Gedankenbericht)
  • (She could have sworn she saw a slight and unexpected movement out of the corner …) Character Speech
  1. Interior monologue (Innerer Monolog)
  • Dry, direct representation of thoughts as indirect speech
  • Long uninterrupted thought
  • No quotation marks. (When I put the rose in my
  1. Free indirect discourse (erlebte Rede)
  • “A rading party moving on, cleaning out the side, retreating laden with bags, boxes, suitcaseboxes…. Who is at this morning wearing his shoes? Time in Narrative Fiction: Storytime VS. Discourse Time (Erzählte Zeit VS. Erzählzeit) Story time (erzählte Zeit): temporal extension of events in the story world (f.e. 30 years, months) Discourse time (Erzählzeit): temporal extension of the act of narrating (how long do I indeed to read?) Measurable only in analogy to reading time.
  1. Perspective Is the point of view from inside the story or outside it? è Inside: Internal perspective/ Perspectivism è Outside: External perspective/ Aperspectivism è (Whose Perspective or point of view is presented? Is it the point if view from someone inside or outside the story?) **Stanzel’s three axes combine to create 3 typical narrative situations.
  2. First-person narrative Situation (Ich - Erzählsituation)** è Person: Identity of the realms of existence of narrator and characters. (dominant) è Mode: “narrator” è Perspective: “internal perspective” 2. Authorial narrative situation (auktoriale Erzählsituation) è Perspective: external perspective/ aperspectivism (dominant) è Mode: narrator è Person: non-identity of realms of existence 3. Figural narrative situation (personale Erzählsituation) è Mode: reflector mode (dominant) è Perspective: “internal perspective” è Person: “non-identity of realms of existence”

2. Gerard Genette’s Model (Narrative Discourse; 1980) Indicators for narrative perspective: è On which narrative level is the narrative process located? (within / outside the story?) Story world - > diegesis è What is the narrator’s relation to the narrative? Inside or outside the story? è Whose perspective is shown. (Who sees? Trough whose eyes do we perceive the action? Narrative Levels:

  1. On which level is narrative process located? è First-level narrator: extradiegetic: narrator “produces” the diegesis. è Narrator within the diegesis: (intra-)diegetic and produces the metadiegesis Narrative within a narrative (a characters tells story)
  2. What is the narrators relations to the narrative? è A narrator is not part of the diegesis is called heterodiegetic. è A narrator that is part of the diegesis is called homodiegetic. A homodiegetic narrator that is also the protagonist od her story is called autodiegetic.
  3. Whose perspective is shown? (How much do we as readers get to know) Narration= who speaks? / Focalization= Who sees? è Internal Focalization Narrator presents perspective of one character (thoughts, feelings)
  • Fixed (remains the same throughout the whole narrative)