1. Introduction to Literary Studies

2. What is literature? Why read literature? Why analyze literature?

3. What’s literature?
Those pieces of writing which despite the passing of the years, still inspire admiration, reflection and emotions in readers
Literature is never static

4. Why read literature? To enjoy To escape For information
To break down personal barriers
To stir up emotions

5. Why analyze? Analyze = understand
The more we know about the art of writing, the more receptive and responsive we become as readers
We need the definitions of terms to exchange opinions

6. text
Text I = wypowiedż w obrębie określonego systemu jęnzykowego, stanowiąca zamkniętą calość z punktu widzenia treściowego.
Jednozdaniowa
Wielozdaniowa
Teoria tekstu
Text II = utrwalony (graficznie) wspóltworzących wypowiedż znaków językowych, których postać i porządek przyjmowane są jako niezmienne.
Text ≠ dzieło literackie
Krytyka tekstu / textual cirticism
A specific work chosen as an object of analysis

7. Dzieło literackie = literary work = językowy twór sensowny (wypowiedż) spełniający warunki artyzmu (artistry).
Tekst autentyczny /autorski
Author – a creator of the literary work
1. psychofizyczna, społeczno- historyczna jednostka
2. a writer, biograficzna jednostka od strony twórczosti literackiej
3. podmiot czynności twórczych

8. literary text / non-literary text
Poetry
Fairy tales
Short stories
Dramatic role-play
Documents
Instructions
Giving direction
Recipe
Menu
Presentation pptx

9. Rodzaje / gatunki literackie
Liryka (podmiot liryczny, afabularność – monolog liryczny)
Pośrednia
Bezpośrednia
Inwokacyjna
L.podmiotu zbiorowego
Epika (narrator – fabula – narracja)
Krótkie/duże formy
Dramat (nieobecność nadrzędnego podmiotu – akcja - dialog)
Odmiany
Gatunki mieszane
Gatunki pograniczne

10. Author / narrator
The "voice" that speaks or tells a story. Some stories are written in a first- person point of view, in which the narrator's voice is that of the point-of- view character. For instance, in The Adventures of Huck Finn, the narrator's voice is the voice of the main character, Huck Finn. It is clear that the historical author, Mark Twain, is creating a fictional voice to be the narrator and tell the story--complete with incorrect grammar, colloquialisms, and youthful perspective. In other stories, such as those told in the third-person point of view, scholars use the term narrator to describe the authorial voice set forth, the voice "telling the story to us." For instance, Charles Dickens' Oliver Twist presents a narrative in which the storyteller stands outside the action described. He is not a character who interacts with other characters in terms of plot. However, this fictionalized storyteller occasionally intrudes upon the story to offer commentary to the reader, make suggestions, or render a judgment about what takes place in the tale. It is tempting to equate the words and sentiments of such a narrator with the opinions of the historical author himself. However, it is often more useful to separate this authorial voice from the voice of the historical author

11. Autor / obraz autora
AUTHORIAL VOICE: The voices or speakers used by authors when they seemingly speak for themselves in a book. (In poetry, this might be called a poetic speaker). The use of this term makes it clear in critical discussion that the narration or presentation of a story is not necessarily to be identified with the biographical and historical author. Instead, the authorial voice may be another fiction created by the author. It is often considered poor form for a modern literary critic to equate the authorial voice with the historical author, but this practice was common in the nineteenth century. However, twentieth-century critics have pointed out that often a writer will assume a false persona of attitudes or beliefs when she writes, or that the authorial voice will speak of so-called biographical details that cannot possibly be equated with the author herself. In the early twentieth-century, New Critics also pointed out that linking the authorial voice with the biographical author often unfairly limited the possible interpretations of a poem or narrative. Finally, many writers have enjoyed writing in the first person and creating unreliable narrators--speakers who tell the story but who obviously miss the significance of the tale they tell, or who fail to connect important events together when the reader does. Because of these reasons, it is often considered naive to assume that the authorial voice is a "real" representation of the historical author.

12. POETIC SPEAKER
The narrative or elegiac voice in a poem (such as a sonnet, ode, or lyric) that speaks of his or her situation or feelings. It is a convention in poetry that the speaker is not the same individual as the historical author of the poem. For instance, consider the poet Lord Byron's mock epic Don Juan. Lord Byron wrote the poem as a young man in his late twenties. However, the speaker of the poem depicts himself as being an elderly man looking back cynically on the days of youth. Clearly, the "voice" talking and narrating the story is not identical with the author. In the same way, the speaker of the poem "My Last Duchess" characterizes himself through his words as a Renaissance nobleman in Italy who is cold-blooded--quite capable of murdering a wife who displeases him--but the author of the poem was actually Robert Browning, a mild-mannered English poet writing in the early nineteenth-century. Many students (and literary critics) attempt to decipher clues about the author's own attitudes, beliefs, feelings, or biographical details through the words in a poem. However, such an activity must always be done with caution.

13. Character
Any representation of an individual being presented in a dramatic or narrative work through extended dramatic or verbal representation. The reader can interpret characters as endowed with moral and dispositional qualities expressed in what they say (dialogue) and what they do (action). E. M. Forster describes characters as "flat" (i.e., built around a single idea or quality and unchanging over the course of the narrative) or "round" (complex in temperament and motivation; drawn with subtlety; capable of growth and change during the course of the narrative). The main character of a work of a fiction is typically called the protagonist; the character against whom the protagonist struggles or contends (if there is one), is the antagonist. If a single secondary character aids the protagonist throughout the narrative, that character is the deuteragonist (the hero's "side-kick"). A character of tertiary importance is a tritagonist. These terms originate in classical Greek drama, in which a tenor would be assigned the role of protagonist, a baritone the role of deuteragonist, and a bass would play the tritagonist. Compare flat characters with stock characters.

14. character protagonist antagonist
The main character in a work, on whom the author focuses most of the narrative attention.
FLAT, also called a static character, a flat character is a simplified character who does not change or alter his or her personality over the course of a narrative, or one without extensive personality and characterization. The term is used in contrast with a round character.
ROUND, a round character is depicted with such psychological depth and detail that he or she seems like a "real" person. The round character contrasts with the flat character, a character who serves a specific or minor literary function in a text, and who may be a stock character or simplified stereotype. If the round character changes or evolves over the course of a narrative or appears to have the capacity for such change, the character is also dynamic. Typically, a short story has one round character and several flat ones. However, in longer novels and plays, there may be many round characters. The terms flat and round were first coined by the novelist E. M. Forster in his study, Aspects of the Novel.

15. Image / obraz
A common term of variable meaning, imagery includes the "mental pictures" that readers experience with a passage of literature. It signifies all the sensory perceptions referred to in a poem, whether by literal description, allusion, simile, or metaphor. Imagery is not limited to visual imagery; it also includes auditory (sound), tactile (touch), thermal (heat and cold), olfactory (smell), gustatory (taste), and kinesthetic sensation (movement).
Swiat przedstawiany dzieła lit.
Wyraziście ukstałtowany zespół elementów świata przedstawionego utworu, nasycony konkretnoścą i plastycznoścą, apeluących do przedstawień wyobrazeniawych czytalnika
Konstrukcja semantyyczna powstała w wyniku zastosowania w wypowiedzi wyrażeń figuralnych

16. What is Poetry? http://www.examplesinpoetry.com/

17. Theme: Types of Poetry
A LYRIC poem is a comparatively short, non-narrative poem in which a single speaker presents a state of mind or an emotional state.
Subcategories : elegy, ode, sonnet
DRAMATIC MONOLOGUE (In a dramatic monologue a speaker, who is explicitly someone other than the author, makes a speech to a silent auditor in a specific situation and at a critical moment.)
OCCASIONAL POETRY (written for a specific occasion)
ELEGY is a formal lament for the death of a particular person
ODE is a long lyric poem with a serious subject written in an elevated style
SONNET was originally a love poem which dealt with the lover’s sufferings and hopes; fourteen lines and an intricate rhyme pattern
SONNET CYCLES which depict the various stages of a love relationship.

18. Types of Poetry
The MOCK-EPIc makes use of epic conventions, like the elevated style and the assumption that the topic is of great importance, to deal with completely insignificant occurrences.
NARRATIVE poetry gives a verbal representation, in verse, of a sequence of connected events, it propels characters through a plot. It is always told by a narrator. EPICS usually operate on a large scale, both in length and topic, such as the founding of a nation (Virgil’s Aeneid) or the beginning of world history (Milton's Paradise Lost), they tend to use an elevated style of language
A BALLAD is a song, originally transmitted orally, which tells a story; the ballad stanza is usually a four-line stanza, alternating tetrameter and trimeter

19. Types of Poetry
Both lyric and narrative poetry can contain lengthy and detailed descriptions (DESCRIPTIVE poetry) or scenes in direct speech (DRAMATIC poetry).
The purpose of a DIDACTIC poem is primarily to teach something, but it can also be meant as instructive in a general way.

20. Figures of Speech or literary / stylistic devices
A simile is a form of spech in which a comparison btw two distinctly different things is indicated by the word ‘like’ or ‘as’
Personification is a form of comparison in which human characteristics are attributed to an animal
In metonymy (‘a change of name’) the term for one thing is applied to another with which it has become closely associated.
A metaphor is an implied comparison which creates a total identification btw the two things being compared
In synecdoche (‘taking together’) a part of smth is used to signify the whole (Many hands make light work).

21. figures of speech test England needs every man to do his duty
Simile……………………..
Metaphor…………………
Metonymy………………..
Synecdoche………………
Personification …………..
England needs every man to do his duty
Many hands make light work.
My love is like a red, red rose.
The White House has refused to comment.
Life’s but a walking shadow, a poor player.

22. Imagery
A concrete representation of a sense impression, a feeling, or an idea which appeals to one or more of our senses.
Tactile imagery--sense of touch.
Aural imagery--sense of hearing.
Visual imagery--sense of sight.
Olfactory imagery--sense of smell.
Gustatory imagery--sense of taste.
We use the term imagery to refer to combinations or clusters of images that are used to create a dominant impression.
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23. Bent double, like old beggars under sacks, knock-kneed, coughing like hags we cursed through slugde Dulce et Decorum Est by W.Owen
Visual images:
Aural images:
A tactile image:
To bend (bent, bent)
A beggar
A sack
A hag = 1) an ugly old woman, especially a vicious or malicious one.
2) a witch or sorceress.
Sludge = mud

24. Symbols Guidelines to identify symbols: Repetitions Emphasis
Associations automatically made with shared symbols
* avoid ‘symbol hunting’ !
Cultural/shared symbols are widely recognized and accepted:
the dawn = hope, the serpent = evil, the light = knowledge
Literary/personal symbols are created by authors and have no pre-established associations- their meaning emerges from the context of the work in which they appear

25. Symbol test
A symbolic association that is widely recognized and accepted.
A symbol that does not have pre- established association. The meaning of the symbol emerges from the context of the work it occurs in.
Cultural
Shared
Personal
Literary

26. Apparently with no Surprise by Emily Dickinson
Apparently with no surprise To any happy Flower, The Frost beheads it at its play – In accidental power – The blonde assassin passed on – The Sun proceeds unmoved To measure off another Day For an approving God.

28. Sound features: Rhyme
The term RHYME refers to the effect that is created when a poet repeats the same sound at the end of two or more lines. It has several functions: 1) It adds a musical quality to the poem; 2) Marks the end of each line; 3) Makes the poem easier to remember; 4) affects the pace and tone of the poem.
One-syllable or Masculine rhyme: day/say, light/night
Two-syllable or Feminine rhyme: ocean/motion, pretending/bending
Triple-syllable: beautiful/dutiful
True or perfect rhyme: boat/float Imperfect rhyme: loads/lids/lads.

29. accentual-syllabic metre

30. Sound features
Alliteration is the repetition of the same initial consonant in a sequence of nearby words (safe and sound).
Assonance is the repetition of similar or identical vowel sounds in a sequence of nearby words containing different consonants. It creates ‘vowel rhyme’ as in break/play, hope/spoke.
The use of sound of words to suggest the sound the denote is called onomatopoeia

31. Sound features
rhythm is the pulse or beat in a line of poetry, the regular recurrence of an accent or stress
meter is the measure or patterned count of a poetry line (a count of the stresses we feel in a poem's rhythm).
The unit of poetic meter in English is called a "foot," a unit of measure consisting of stressed and unstressed syllables.

32. Sound features: Rhythm
Iamb = unstressed- stressed
Trochee = stressed- unstressed
Anapest = 2 unstressed- stressed
Dactyl = stressed – 2 unstressed
Monosyllable = 1 stressed (sky)
Spondee = 2 stressed (rain-bow)

33. My Papa’s Waltz by Theodore Roethke
The whiskey on your breath
Could make a small boy dizzy;
But i hung on like death;
Such waltzing was not easy.
Identify the sound features in the poem:
The rhyme scheme
Alliteration
Rhythm

34. Conventions stanzas pause prose verse concrete poetry visual form
Layout referes to the __________(1) a poem take on the page. It is important because it helps the reader’s understanding by indicating, e.g., where s/he should ________(2) or where a new line of thought begins. Certain ___________ (3) have been established in the layout of poems: the lines
- do not cover the full page as they do in ________ (4);
Are usually grouped together into units called ___________(5);
Are occasionaly grouped into units that repeat the same number of lines, the same metre and the same rhyming scheme. These units are called _________(6).
In what is referred to as ____________ (7), the visual form of the poem is almost as impostant in conveying meaning as the verbal communication.
Zhyrmunski

35. How to analyze a poem Syntactical structure Vocabulary Strong position
1. Form of presentation:
Narrative method (1st / 3rd person narrative; charater’s 1st pers. utterance; lyric hero 1st pers. utterance)
Types of composition (narration, dedscription, reasoning, author’s digression, author’s monologue)
Syntactical structure
Vocabulary
Strong position
2. Poetic form:
Meter (foot, rhymign pattern, kind of stanza)
Instrumentation
Stylistic devices.
System of images

36. What is Fiction?

37. Fiction
THEME
CHARACTER
PLOT
SETTING
POINT OF VIEW
LANGUAGE AND STYLE

38. SETTING is a place or location of the action, which provides the historical, cultural, and emotional context for characters
Setting as a mirror
Setting as an antagonist
Setting as a way of revealing character
Setting as a means of reinforcing theme
Setting in time
Social setting

39. setting

40. Defining character
Relation to the plot : do they play a major part in the events of the story or a minor one?
Degree to which they are developed: are they complex characters or are they one- dimensional?
Growth in the course of story: do they remain the same throughtout the story or do significant changes in their personality take place?

41. character

42. character
The central character of the plot is called protagonist. The character against who the protagonist is struggling is called antagonist.
Flat ch. embody or represent a single characteristic, they may also be referred to as types or caricatures.
Dynamic ch. as the result of the experience they have.
Static ch. remain untouched by the events of the story.
Round ch., like real people, have complex, multi-dimensional personalities; they show emotional and intellectual depth; are capable of growing and changing.

44. Conveying character Telling Setting Showing Names Dialogue Appearance
Action
Comparison with other characters

46. PLOT is an author’s arrangement of events in the story
CONFLICT is a driving force behind many plots. It may come from:
Outside: the main CH may be in conflict with external forces (family, society, nature
Within: the CH may be forced to make a difficult choice, or he may have to question his values & belief
SUSPENSE is the sense of worry
SUB-PLOT is a secondary story that is complete in its own right.

48. Narrators and point of view
Narrator is the person telling the story.
First-person narrator participates in action but sometimes has limited (subjective) knowledge/vision.
Objective narrator is unnamed/unidentified (a detached observer), does not assume character's perspective and is not a character in the story. The narrator reports on events and lets the reader supply the meaning.
Omniscient [om-nish-uh nt] (all-knowing) narrator (multiple perspectives). The narrator takes us into the character and can evaluate a character for the reader (editorial omniscience). When a narrator allows the reader to make his or her own judgments from the action of the characters themselves, it is called neutral omniscience.
Limited omniscient: all-knowing narrator about one or two characters, but not all.

50. Point of view
Dramatic or objective point of view – the story seems to be told by no one (video-camera left running).
Stream of consciousness is a term applied to any attempt by a writer to represent the conscious and subconscious thoughts and impressions in the mind of a CH.
Interior monologue a term borrowed from drama, where monologue refers to the part of play where the actor expresses his inner thoughts aloud to the uadience.

52. theme
Theme is the central idea that directs and shapes the subject matter of the story. T is the views of life or the insights into human experience that the author wishes to communicate to his readers. It is the answer to the question “what does the story mean?”

54. Drama

55. generic groups of texts
genres and genre systems are subject to historical changes and by no means closed categories.

56. Drama- the form of composition designed for performance in the theatre, in which actors take the roles of the characters, perform the indicated action, and speak the written dialogue.

57. Influence of Antiquity
Comedy, a dramatic work in which the materials are selected and managed primarily in order to amuse the audience and make it laugh; the ending is by convention good and resolves previous problems,
Tragedy, a dramatic sub-genre marked by representations of serious actions which end in disaster for the protagonist.
Aristotle:
Five-act structure
Unity of time, place and action

58. dramatic structure

59. Gustav Freytag: Technique of the Drama (1863) http://www2. anglistik

60. References
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