Literary Studies Zusammenfassung PDF

1. Astrid Franke Reading Texts as Literature: Various factors influence perceiving a text as literature (e.g., genre labels, literary critics’ discussions). Literature is often recognized through unusual language or structure. Interaction with Texts: Literature allow...

1. Astrid Franke Reading Texts as Literature: Various factors influence perceiving a text as literature (e.g., genre labels, literary critics’ discussions). Literature is often recognized through unusual language or structure. Interaction with Texts: Literature allows an escape from reality, fosters ambiguity, and encourages discussions. Interpretations are subjective but should be supported by arguments, secondary literature, and discussions. Discussing Literature as Scholars: Personal opinions are valid but must be backed by reasoning and textual evidence. Respectful communication is crucial. The aim is to develop informed positions based on primary and secondary literature. Phillis Wheatley’s Poem “On Being Brought from Africa to America”: The poem addresses religious conversion and racism. It serves as a basis to explore meaning and interpretation approaches. 2. Guttzeit 1. Why Poetry? o Poetry exists in all cultures, serving purposes like ritual, emotional expression, or intellectual exploration. o Defined by: ▪ Use of heightened emotion, expressive language, and rhythm. ▪ Features like rhyme, metaphor, and imagery that combine sound with fresh ideas. 2. Analyzing Formal Features of Poetry: o Forms: Examples include sonnets, odes, and free verse. o Meter and Rhythm: Most common in English poetry is iambic pentameter (five feet per line with alternating unstressed and stressed syllables).  o Rhyme Schemes: English sonnets often follow the ABAB CDCD EFEF GG structure. o Figures of Speech: Includes metaphor, simile, personification, etc. 3. Sonnet 18 by William Shakespeare: o Themes: Immortality of beauty through poetry. o Structure: 14 lines with three quatrains and a concluding couplet. o Metapoetry: Reflects on the power of poetry to preserve memory and meaning. Anna Laetitia Barbauld's Poem – "To a Little Invisible Being Who is Expected Soon to Become Visible" 1. Context: o Written around 1795, addressed to an unborn child. o Reflects maternal anticipation and societal ideas about birth and creation. 2. Poetic Features: o Structure: Nine stanzas, symbolizing nine months of pregnancy. o Imagery: Uses metaphors like “germ of new life” and “mysterious gate” to convey development and transition. o Rhythm and Rhyme: Employs iambic pentameter and an ABAB rhyme scheme, connecting rhythm with a heartbeat. o Tone: A mix of anticipation, urgency (e.g., imperative “Haste”), and affection. 3. Interpretation Challenges: o Voice: Debate over whether the speaker is the mother, a separate narrator, or both in shifting roles. o Real-life Context: The poem was gifted to Frances Carr, Barbauld's friend, during her pregnancy, adding a personal layer. 4. Metapoetic Elements: o Highlights poetry's emotional and incantatory role, soothing the expectant mother and metaphorically "motivating" the child’s arrival. o Embeds poetic self-awareness through references like "charmed verse" and "lulling songs." 5. Relation Between Form and Content: o The structured stanzas mirror the stages of pregnancy, while rhythmic elements evoke life and urgency. Guttzeit 2 Contextualizing Poetry: 1. Overview:  o Contextualization of poetry includes identity, historical backgrounds, and intertextuality. o Exploration of Anna Laetitia Barbauld's work alongside Romanticism and proto-feminism. o A brief history of African American poetry, highlighting Phillis Wheatley and Langston Hughes. 2. Barbauld and Romanticism: o Barbauld’s works resonate with Romantic ideals, including individuality, emotional depth, and rebellion against neoclassical norms. o Romanticism values personal emotion and rebellion against societal conventions. 3. Gender and Proto-Feminism: o Barbauld’s poetry explores gender and maternity: ▪ “To a Little Invisible Being” reflects maternal anticipation and the absence of explicit gendered roles for the child. ▪ Her poem “The Rights of Woman” combines irony and political metaphor to critique gender norms, debating the extent of feminist advocacy. 4. Historical and Political Contexts: o Poetry reflects historical shifts, such as abolitionism (e.g., Phillis Wheatley) and equality struggles (e.g., Langston Hughes’ “I, Too”). o Intertextual connections include Barbauld’s alignment with Romantic poets and her critique of societal structures. Case Studies: 1. Phillis Wheatley (c. 1753–1784): o African American poet, noted for her use of traditional poetic forms (e.g., heroic couplets) to challenge slavery. o Poems like “On Being Brought from Africa to America” blend abolitionist themes with Christian morality. 2. Langston Hughes (1901–1967): o A pivotal figure in the Harlem Renaissance, Hughes used free verse and accessible language to advocate for African American identity and political inclusion.  o His poem “I, Too” asserts equality and belonging within the American nation, employing parallelism and metonymy. 3. Modern and Contemporary Poetry: o Amanda Gorman’s “The Hill We Climb” (2021) exemplifies poetry as a unifying, political voice in contemporary America. o Gorman’s poem reflects on the nation’s challenges and aspirations, symbolizing unity through the metaphor of climbing a hill. Key Literary Terms: Intertextuality: Texts referencing or interacting with other texts (e.g., Romantic odes influencing Barbauld). Metonymy: A literary device where a part represents the whole (e.g., "kitchen" and "table" in Hughes’ poetry symbolizing the American nation). Irony: Used by Barbauld in “The Rights of Woman” to highlight gender dynamics and critique societal expectations. Thematic Takeaways: Poetry is deeply interwoven with identity, history, and politics. Romanticism and feminist interpretations continue to shape the understanding of poetry. Modern poets like Hughes and Gorman carry forward the tradition of using poetry as a medium for social commentary and change. Here’s the summary for the fourth document: hotz davies Summary: Introduction to Literary Studies – Drama I: Edward II Overview of the Lecture: 1. Primary Focus: o Analysis of Christopher Marlowe’s play Edward II (1591/92). o Exploration of communication on stage, characterization, and the political and cultural dimensions of the play. 2. Key Themes and Context: o Historical Reference: The reign of Edward II (1284–1327).  o Genre: A blend of history play and tragedy. o Core Issues: ▪ Edward’s controversial relationship with Gaveston and its impact on governance. ▪ His failures as a ruler. ▪ The question of legitimacy in royal government. 3. Communication on Stage: o Stage-Level: Interactions between characters through dialogue, soliloquy, and non-verbal actions. o Theatre-Level: Audience observation of the performance, including the interplay between actors and the audience’s awareness of one another. o Concepts like the “fourth wall” (a barrier between the performance and the audience) and audience engagement with the staged drama. Key Features of the Play: 1. Characterization: o Edward II: Portrayed as a ruler whose personal relationships influence his political decisions. o Gaveston: ▪ The Lover: Introduced as deeply devoted to Edward, describing their relationship with passionate imagery. ▪ The Manipulator: Later depicted as exploiting Edward’s love by surrounding him with entertainers and luxuries to maintain influence. 2. Character Dynamics: o Configurations: The play highlights opposing factions: ▪ Edward II and Gaveston vs. the peers and the Queen. ▪ Male vs. female characters in terms of power and societal roles. 3. How to Read Edward II: o As a historical and political commentary on the conflict between absolutist monarchy and aristocratic claims to power. o As an exploration of cultural attitudes toward sexuality, particularly male relationships.  o As a dynamic, staged experience that tests audience loyalties, convictions, and emotional responses. 4. Marlowe’s Contributions: o Marlowe’s play emphasizes fluid characterizations and moral ambiguity, leaving the audience to grapple with their interpretations. Critical Interpretations: The layered communication and characterization in Edward II make it a dynamic and engaging work, both politically and emotionally. The play challenges historical, cultural, and sexual norms of its time while also eliciting complex audience reactions. Novels Summary: Introduction to Literary Studies – Analysing a Novel: Heart of Darkness 1. Background on Joseph Conrad British-Polish author, born in 1857 in Ukraine. Became a sailor in Marseille (1874) and later joined the British Merchant Marine (1878). Traveled to Africa (1890), which inspired Heart of Darkness. First novel: Almayer’s Folly (1895). Heart of Darkness was serialized in Blackwood’s Magazine (1899) and published as a book in 1902. Died in 1924. 2. Traditional Approach vs. Modernist Approach The traditional method of analyzing a novel focuses on: o Author’s intention as the main source of meaning. o Plot, characters, and themes as central to understanding the text. Instead, Modernist analysis focuses on:  o Literature as a form-driven rather than purely content-driven medium. o Emphasizing the unusual use of language rather than an author’s intent. o Viewing literature as a way of questioning reality rather than simply portraying it. 3. Modernism and Heart of Darkness Modernism (1890-1930) was a pan-European literary movement that challenged Enlightenment ideals. Influences from other disciplines: o Freud: The self is not rational and has hidden motivations. o Marx: Society is driven by class struggle, not a social contract. o Nietzsche: Morality is a construct, and truth is relative. 4. Features of the Modernist Text in Heart of Darkness Conrad’s novel challenges traditional elements like: o Linear plot structure (instead, it uses a fragmented narrative). o Reliable narration (Marlow is an unreliable narrator). o Stable character identities (Kurtz is both admired and monstrous). o Objective descriptions of reality (ambiguous settings and meaning). 5. Key Aspects of Heart of Darkness A. Plot (Structure of the Narrative) Frame Narrative: Marlow tells his story to a group of sailors on a yacht in the Thames Estuary. Marlow is sent to Leopold’s Congo to replace a dead riverboat captain and bring back Kurtz, a company agent who has “gone native” and committed atrocities. Kurtz is a contradiction: a brilliant but brutal figure. He dies, uttering the famous words: "The horror! The horror!" Marlow returns to Europe and lies to Kurtz’s fiancée about his last words. B. Characterization Marlow as an Unreliable Narrator: o Claims to hate lies but lies to Kurtz’s Intended. o Raises the question: is any narrator truly reliable? Kurtz: Hero or Villain? o A brilliant yet monstrous figure who symbolizes both European civilization and savagery. C. Plot as a Metaphor for Storytelling The road (leading through the Congo) serves as a metonymy for narrative itself. The story questions whether progress and imperialism are meaningful or merely tools of oppression. D. Meaning and Theme The novel refuses to give clear moral guidance. Marlow’s narrative is inconclusive and ambiguous. E. Narrative Framing Heart of Darkness is a story within a story, meaning the text is always “within inverted commas”—it is never presented as absolute truth. The reader’s interpretation determines meaning, making it highly subjective. F. Questioning Meaning in Modernism Delayed decoding: Meaning is not immediate—e.g., when Marlow sees “sticks” flying in the air, only later realizing they are arrows. Meaning is unstable and changes depending on interpretation. 6. Critique of Western Knowledge Sight (Vision) as a Metaphor: o Western knowledge is often based on what can be seen. o But in Heart of Darkness, sight fails—truth remains elusive. o Marlow realizes that even words like “Kurtz” mean nothing without context. 7. Conclusion After Modernism, it is no longer possible to read literature in a naïve way, purely for: o Character development, o Plot, or o Moral meaning. Instead, we must analyze form and narrative structure. Literature does not just reflect reality—it questions it. The novel forces the reader to engage actively in creating meaning rather than passively receiving it. 1. Core Themes How does Heart of Darkness relate to Modernism, colonialism, and postcolonial critique? Does Conrad’s critique of language also serve as a critique of colonial ideology and stereotypes? Is Conrad a critical colonizer or a flawed skeptic? 2. Chinua Achebe’s Critique: “A Bloody Racist?” Achebe’s famous essay “An Image of Africa” (1977) accuses Conrad of dehumanizing Africans: o Conrad suggests that Africans are not inhuman, but almost worse— disturbingly human. o The novel depicts Africa as a backdrop for European experiences, rather than engaging with African perspectives. o Africa becomes a “metaphysical battlefield” where the European mind disintegrates, rather than a real place with real people. 3. How Heart of Darkness Questions Enlightenment Ideals  Modernism critiques Enlightenment thought, including its ideas of progress, rationality, and objectivity. Conrad’s narrative challenges the European subject as rational and self-aware: o The Europeans in the novel act more savagely than the people they label as “primitive.” o The colonial “civilizing mission” is a lie, as shown in Marlow’s ironic commentary. 4. How Heart of Darkness Exposes Colonial Hypocrisy Free Indirect Discourse (FID): Conrad uses ironic narration to undermine colonial rhetoric. o Example: Marlow’s aunt speaks of “weaning ignorant millions from their horrid ways”, but Marlow hints that the real purpose is profit. o Yet, despite his critiques, Marlow lies to Kurtz’s Intended, preserving the illusion of European nobility. Critique of Colonial Violence: o A French warship fires at an unseen enemy in the jungle, with no visible effect—a symbol of the absurdity of European imperialism. o African laborers are described as “criminals”, but their suffering is clear: starving, chained men treated as disposable. 5. Ambivalence: Does Conrad Reinforce or Undermine Racist Stereotypes? Colonial Stereotypes in the Novel: o Africa = a journey back in time: “Going up that river was like traveling back to the earliest beginnings of the world.” o Africans portrayed in primitive imagery: “A burst of yells, a whirl of black limbs, a mass of hands clapping, of feet stamping…” o The “cannibal” trope: Marlow is shocked that the African workers do not kill and eat their captors, assuming they lack restraint. Challenging Stereotypes? o At times, Conrad questions the very stereotypes he presents. o Example: The Africans show more restraint than the Europeans.  o Conrad acknowledges a shared humanity, but describes it as “ugly”, making his position ambiguous. 6. Power of Language: The Eloquence of Kurtz Kurtz’s Report: o Written for the “International Society for the Suppression of Savage Customs”. o Describes white men as gods bringing civilization. o Ends with the chilling phrase: “Exterminate all the brutes!” o Shows how colonial rhetoric masks genocide with noble-sounding ideals. 7. Conclusion: Postcolonial and Modernist Readings Heart of Darkness is both: o A powerful critique of colonialism. o A novel that still relies on colonial tropes and racist imagery. Key questions: o Does Conrad succeed in undermining European superiority, or does he simply replace it with guilt-ridden self-reflection? o Is Heart of Darkness a postcolonial novel before postcolonialism, or does it fail to move beyond the colonial gaze? Summary: Introduction to Literary Studies – Analysing Film 1. Key Focus Areas of Film Analysis The lecture focuses on: 1. Film technique and meaning in narrative cinema. 2. A case study: Ernestine and Kit (2015), a short film adaptation of Kevin Barry’s story. 2. Film Analysis: Understanding Meaning Intended Meaning vs. Contextual Meaning o Some film meanings are consciously created by filmmakers. o Others emerge unconsciously from historical, social, and cultural influences. o Films should be analyzed for both types of meaning. Close Reading of Film o Examining the visual and multimodal elements that construct meaning. o Asking “Why?” about each cinematic choice. o Shot-by-shot analysis to reveal deeper layers of interpretation. 3. Key Film Techniques A. Composition Framing: Loose/tight, open/closed. Mise-en-scène: Rule of thirds, blocking, positioning of characters. Depth of Field: What is in focus in the foreground and background. B. Cinematography (Camera Work) Types of shots: Wide, medium, close-up, POV, handheld. Camera movements: Zoom, tracking, tilting, rolling. Focus: Deep focus (sharp), soft focus (blurred). C. Editing Continuity Editing (Hollywood Style) o “Invisible” cutting creates a smooth flow, making edits unnoticeable. o Ensures temporal and spatial continuity (flashbacks are clearly marked). o The goal: To let the audience focus on the story, not the filmmaking process. Montage Editing o Used in expressionist cinema (e.g., Battleship Potemkin).  o Calls attention to the editing itself, making the audience aware of the construction of meaning. Key Editing Techniques o Shot/Reverse-Shot: Used in dialogues for seamless conversation flow. o Eyeline Matching: Ensures characters’ gaze directions align. o 180° Rule: Prevents disorientation by keeping camera angles within a fixed axis. D. Art Direction (Production Design) Set Design: Props, locations, costumes. Lighting: o High-key lighting (bright and clear). o Low-key lighting (shadow-heavy, dramatic). o Three-point lighting (realistic effect with key, fill, and back lights). Sound: o Diegetic sound: From within the film world (e.g., a radio playing in a scene). o Nondiegetic sound: Added for dramatic effect (e.g., film score). o Internal diegetic sound: A character’s inner thoughts (e.g., voice-over monologue). E. Narrative and Structure Storytelling elements: o Exposition, development, climax, resolution. o Episodes and sequences. Point of View (POV): o Objective narration: The audience is a neutral observer. o Subjective POV: The camera replicates a character’s vision. Time Manipulation: o Ellipsis: Time passes without direct transition (e.g., seasons changing). o Parallel Montage: Two simultaneous events shown in different locations. F. Film Style  Realism vs. Expressionism o Realism: Naturalistic representation, seamless continuity. o Expressionism: Exaggerated, stylized visuals and editing. 4. Case Study: Ernestine and Kit (2015) Short film directed by Simon Bird. Based on Kevin Barry’s darkly comic short story (Dark Lies the Island, 2012). Running time: 10 minutes, 52 seconds. Timeline of the Film: o 00:01 – 01:33: Opening sequence (beach scene). o 01:42 – 04:53: Episode 1 (the castle). o 05:24 – 05:42: Replay of the intro at traffic lights. o 06:21 – 08:11: Episode 2 (supermarket scene, elliptic editing). o 08:12 – 08:57: The climax (dealing with the toddler). o 08:58 – 10:52: Conclusion, end credits. Key Analytical Focus: o How the film transforms Barry’s story into a visual experience. o Differences in tone, pacing, and character presentation between film and text. 5. Next Steps The next lecture will focus on the transition from short story to film. Students are encouraged to read Kevin Barry’s “Ernestine and Kit” and note differences from the film. Conclusion This lecture provides a structured approach to film analysis, covering technical, visual, and narrative elements. It introduces how cinematic techniques shape meaning and examines how a short story is adapted into film. Summary: Film II – Short Story into Film: Ernestine and Kit 1. Key Focus: Adaptation of Short Story into Film This lecture analyzes the short film Ernestine and Kit (2015) and its relationship to Kevin Barry’s short story of the same name, focusing on: 1. Differences between the narrative forms of film and text. 2. How cinematic techniques reshape the story’s tone, style, and interpretive cues. 2. Recap of Film Analysis Film Techniques Overview: o Shot-by-Shot Analysis: ▪ Camera work, composition, editing, art direction, and production design. ▪ Continuity editing, elliptical storytelling, and visual/narrative style. o Style: ▪ A mix of realism and symbolic elements. ▪ Shifting between authorial and personal perspectives. Narrative Structure of the Film: o 00:01–01:33: Beach parking sequence (intro). o 01:42–04:53: Castle visit (Episode 1). o 05:42–06:20: Supermarket scene (Episode 2, elliptic editing). o 08:12–08:57: Conclusion (disposing of the toddler). 3. Kevin Barry’s Short Story Narrative Style: o Barry’s writing blends authorial narration with personal focalization. o Language is rich with symbolic imagery (e.g., “anxious birds,” “the silence of trees”). o Uses crime fiction cues to build suspense and unease.  Characterization: o Ernestine: Physically imposing, high energy, and bold. o Kit: Slightly younger, observant, and sharp. Tone: o The story starts with a lighthearted tone, slowly introducing elements of discomfort and tension. 4. Key Differences: Film vs. Short Story 1. Opening Scene: o The beach and sea imagery in the film is absent in the story. o The angel figure in the film is also not in the original text. 2. Symbolic Elements: o The red car (a recurring motif in the film) is not explicitly described in the story. o Symbolism is less emphasized in the film compared to Barry’s prose. 3. Narrative Perspective: o The story features authorial commentary; the film shifts to direct dialogue, which limits interpretive cues. o Home base scenes and some character details (e.g., hypocrisy about alcohol) are omitted in the film. 4. Immersion and Interpretation: o The film relies on sound and visuals for immediacy, creating a more immersive but less explicit interpretive experience. o The story uses language to guide interpretation, engaging the reader on a cognitive level. 5. Conclusion The adaptation transforms Barry’s richly detailed, symbolic text into a film that prioritizes immediacy and visual storytelling. The film provides fewer interpretive cues, leaving more to the audience’s perception.  Both mediums explore a gradual shift from an idyllic setting to a sinister undertone, using their respective strengths to evoke suspense and unease. Summary: Introduction to Oral Literature 1. Definition and Nature of Oral Literature Oral literature: A spoken or performed art form using words. Related terms: o Orature: Combines oral and literary traditions. o Verbal art: Encompasses all verbal expression. o Folklore: Traditions, customs, beliefs, and knowledge passed through generations. 2. Characteristics of Oral Literature Verbal Variability: Changes in wording and form during performances. Performance-Centered: Focus on delivery style, audience interaction, and dramatic elements. Memory-Based: Relies on the artist's ability to recall and adapt content. Dynamic and Adaptive: Evolves over time to suit changing cultural contexts. Audience-Driven: Tailored to listener engagement and response. 3. Functions of Oral Literature Socialization: Teaches values, gender roles, and cultural identity. Cultural Interpretation: Preserves history, traditions, and philosophies. Aesthetic and Entertainment Value: Delights audiences with artistic storytelling. Community Philosophy: Reinforces humanism and ethical values. 4. Classification of Oral Literature A. Genres  Oral Narratives: o Myths: Sacred tales explaining origins and cultural identity. o Legends: ▪ Romantic/Mythical: Loosely based on historical figures. ▪ Historical: Close to real events and people. o Aetiological Stories: Explains natural phenomena or animal behavior. o Ogre Tales: Stories of good versus evil; often feature confrontations with mythical giants. o Trickster Tales: Centered on cunning characters like hares, spiders, or tortoises. Oral Poetry/Songs: o Categories include birth songs, lullabies, initiation songs, wedding songs, and funeral songs. o Songs are integrated into all stages of life and cultural rituals. Short Forms: o Riddles, proverbs, and emerging oral genres. 5. Key Characters in African Oral Narratives The Tortoise: Symbolizes wisdom, adaptability, and camouflage. The Chameleon: Represents caution, calculation, and sudden action. The Ogre: Embodies evil; versatile and often monstrous. The Elephant: Symbolizes strength, power, and respect without aggression. The Lion: Represents leadership but often ruthless and self-serving. The Hare/Spider/Squirrel: Cunning, deceitful, and humorous tricksters. The Hyena: Represents greed, lack of family values, and untrustworthiness. 6. Techniques and Style in Oral Literature Repetition: Enhances memory and dramatic effect. Song Integration: Blends narrative with melody for emphasis.  Suspense and Digression: Keeps audiences engaged. The Oral Artist: o Supports the oppressed and reflects communal values. o Employs gestures, vocal variations, and dramatic delivery to captivate the audience. 7. Themes and Philosophy Humanism: Focus on the sanctity and triumph of human life. Good vs. Evil: Persistent struggle symbolized through narratives like ogre tales. Moral Lessons: Promotes ethical and communal values. Summary: "Nightmare in Gray" by Fredric Brown 1. Plot Overview Setting and Protagonist: o The protagonist wakes up feeling rejuvenated on a spring day after a brief nap on a park bench. o He reflects on his engagement to Susan, whom he had proposed to the night before. The Visit: o Full of excitement, he walks to Susan’s home to meet her family for the first time. o Upon arrival, a young woman who resembles Susan (likely her sister) lets him in, stating Susan isn’t home. Twist Revelation: o The protagonist overhears a conversation on the phone, where the young woman speaks of "Grandpa" experiencing amnesia. o She mentions that his memory has regressed fifty years, back to a time before he married "Grandma." Climactic Realization: o The protagonist realizes that he is "Grandpa," and his rejuvenation was part of an amnesiac episode.  o The story ends with him silently weeping as he confronts his aged reality. 2. Key Themes 1. Illusion vs. Reality: o The protagonist's youthful euphoria contrasts sharply with the grim revelation of his true identity. 2. The Passage of Time: o The regression of memory symbolizes the fleeting nature of youth and the inevitability of aging. 3. Tragic Irony: o The audience shares the protagonist's tragic realization, heightening emotional impact. 3. Literary Techniques Narrative Perspective: o Third-person limited perspective creates intimacy with the protagonist’s thoughts and emotions, making the twist more impactful. Foreshadowing: o Subtle hints, like the character’s sense of "wonderful" renewal, build toward the twist. Irony: o The protagonist’s joy contrasts with the tragic truth, creating dramatic irony. 4. Key Takeaways The story explores the fragility of human memory and the ways our perception of reality can be shaped by mental states. The concise narrative structure effectively delivers an emotional punch, blending suspense with poignant introspection.