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Comentario de Textos Literarios en Lengua Inglesa Grado en Estudios Ingleses: Lengua, Literatura y Cultura Equipo Docente: Isabel Castelao, Jesús Cora, Dídac Llorens
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Guiding Questions for Text Analysis Dylan Thomas’ “A Refusal to Mourn the Death, by Fire, of a Child in London” (UNIT 1: Introduction to Poststructuralist Theories)
TEXT FRAGMENT
Never until the mankind making Bird beast and flower Fathering and all humbling darkness Tells with silence the last light breaking And the still hour Is come of the sea tumbling in harness
And I must enter again the round Zion of the water bead And the synagogue of the ear of corn Shall I let pray the shadow of a sound or sow my alt seed Or sow my salt seed In the least valley of sackcloth to mourn
The majesty and burning of the child’s death. […]
I) CONTEXT (between 100 and 200 words)
In order to situate the fragment/text in its context, you may need to consider some/all of the following aspects/questions:
The text’s author: Is the fragment/text directly connected with any events or experiences in the author’s life? The title of the text the fragment belongs to: does it sum up or reflect the text’s content? Is it at odds with it? The author’s nationality: Is it relevant in relation to the fragment/text? Historical context: In what ways does the fragment/text reflect the historical circumstances in which it was composed/published? Is it related to a specific historical event? Literary/cultural context: Did the author belong to a specific literary movement? Does the fragment/text exemplify the main characteristics of this movement? Is it related to a specific historical event?
Situating a poem in its context should not take up a lot of space (100-200 words) nor involve extensive research. You do not need to consider all the aspects above; only those relevant to the fragment at hand.
Comentario de Textos Literarios en Lengua Inglesa Grado en Estudios Ingleses: Lengua, Literatura y Cultura Equipo Docente: Isabel Castelao, Jesús Cora, Dídac Llorens
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II) FORM/CONTENT (no more than 500 words)
In order to discuss the main traits of the text (both form and content), you may need to consider some/all of the following aspects/questions:
The text’s genre: Is the fragment/text a good example of the genre in question? Does it subvert any generic conventions? The poetic speaker / voice / persona in the poem: Can (s)he be identified with the author? Does (s)he come across as a well-defined personality? Does (s)he express his/her ideology? Imagery: What sensual impressions do the main images evoke (visual, auditory, olfactory,…)? Are the poem’s images coherent or contradictory? Are they used in metaphors? Aural elements: Does the poem rhyme or alliterate? How would you describe its rhythm? What is the poem’s/fragment’s general effect, if listened to? Syntax: How is content organised into verse lines/stanzas? Is the use of enjambment relevant? Does the poem’s/fragment’s syntax determine the way in which it is read/recited? Poetic devices / figures of speech: the main ones should be identified; check the document “Figuras retóricas del lenguaje”, available in the online course aLF. Theme: Does the fragment/text have (a) clear theme(s)? Remember that a theme should be formulated in abstract terms. Interrelation form-content in the fragment. Describe briefly.
You do not need to consider all the aspects above; only those relevant to the fragment at hand. You should write about 500 words.
III) THEORY & CRITICISM (no more than 500 words)
Taking into account the main tenets of poststructuralism/deconstruction, how would you approach this fragment from that perspective?
Check the UNIT 1 Study Guide and the basic bibliography (Beginning Theory, pp. 61-77), but use your own words. You should write about 500 words.
This exercise is for you to work autonomously and not to be
submitted. Answers and guidelines will be given on aLF.
