This is a brief presentation of the basic concepts introduced by Russian formalism. It might be considered as a suitable departing point to the understanding of this literary theory.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
Int. to Literary Theory & Literary Criticism
Compiled By Belachew W/Gebriel (bellachew@gmail.com)
Jimma University
CSSH
Department of English Language and Literature
Int. to Literary Theory & Literary Criticism
Compiled By Belachew W/Gebriel (bellachew@gmail.com)
Jimma University
CSSH
Department of English Language and Literature
A summary of Ferdinand de Saussure's "Course in General Linguisitcs". Largely inspired by the following great blog-entry: http://theendsa.blogspot.com/2007/05/who-hell-is-ferdinand-de-saussure.html
Cleanth Brooks - The Language of ParadoxDilip Barad
This presentation is based on Cleanth Brooks's essay "The Language of Paradox,", wherein Cleanth Brooks emphasizes how the language of poetry is different from that of the sciences, claiming that he is interested in our seeing that the paradoxes spring from the very nature of the poet's language: “it is a language in which the connotations play as great a part as the denotations. And I do not mean that the connotations are important as supplying some sort of frill or trimming, something external to the real matter in hand. I mean that the poet does not use a notation at all--as a scientist may properly be said to do so. The poet, within limits, has to make up his language as he goes.”
Sixth lecture for my students in English 192, "Science Fiction," summer 2013 at UC Santa Barbara.
Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/m13/
This slide set provides an introduction to narrative inquiry in education research. Narrative and narratology provides a new model for a critical language in education
The artist is not present: conceptualizing autobiography (the case of Stanisl...Inma Garín
This power point was prepared for the IFTR 2016 at Stockholm last 13-17 June 2016 but was not used.
There is an increasing interest, in the form, function, and potential of personal narratives by artists. My life in Art, by Stanislavski, Diaries and Writings by Bertold Brecht, Threads of Time by Peter Brook, On Directing and Dramaturgy: Burning the house by Eugenio Barba, The Theatre of Death by Tadeusz Kantor, to mention just some the most relevant in the field of personal narratives or accounts of life and work by theatre directors. These texts perform similar tasks in society, such as identifying what a theatre director is, how do directors cope with their biographies or how they build working communities, or learn to act in a unwelcoming context, develop their interests and build their working environments or devise and carry out their projects.
This paper will examine these writings as texts which organize systems of activities, activities and people, as a hybrid genre between theoretical discourse and accounts of personal experiences, a genre which has become a powerful cultural tool in the theatre and pedagogy of today; writing being that most lucid mode of thinking and disseminating thoughts. An indispensable form of conversation with the masters of the past and masters not present.
The analytical method used is based on a series of concepts and tools from Genre Theory and Pragmatics. My goal is to 1) articulate a preliminary framework for the analysis of personal narratives as a way of producing knowledge in the discipline of Theatre Studies 2) examine the utility of these kind of memories o accounts as the basis of passing a director’s knowledge on to others in a structured way, when the artist is not present so that pedagogy, research and artistic practice can make progress 3) encourage theatre directors to write personal accounts of their lives and work so that others can benefit from their experiences.
Fifth lecture for my students in English 192, "Science Fiction," summer 2013 at UC Santa Barbara.
Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/m13/
Tenth lecture for my students in English 192, "Science Fiction," summer 2013 at UC Santa Barbara.
Course website: http://patrickbrianmooney.nfshost.com/~patrick/ta/m13/
Fundamentals of Literature
Compiled by: Belachew Weldegebriel (bellachew@gmail.com)
Jimma University
CSSH
Department of English Language and Literature
1.1 Definition of Literature
English literature is the literature written in the English language, including literature composed in English by writers not necessarily from England; for example, Robert Burns was Scottish, James Joyce was Irish, Joseph Conrad was Polish, Dylan Thomas was Welsh, Edgar Allan Poe was American, J. R. R. Tolkien was born in the Orange Free State, V.S. Naipaul was born in Trinidad, and Vladimir Nabokov was Russian, but all are considered important writers in the history of English literature. In other words, English literature is as diverse as the varieties and dialects of English spoken around the world. In academia, the term often labels departments and programmes practising English studies in secondary and tertiary educational systems. Despite the variety of authors of English literature, the works of William Shakespeare remain paramount throughout the English-speaking world.
How to Split Bills in the Odoo 17 POS ModuleCeline George
Bills have a main role in point of sale procedure. It will help to track sales, handling payments and giving receipts to customers. Bill splitting also has an important role in POS. For example, If some friends come together for dinner and if they want to divide the bill then it is possible by POS bill splitting. This slide will show how to split bills in odoo 17 POS.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
For more information, visit-www.vavaclasses.com
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Ethnobotany and Ethnopharmacology:
Ethnobotany in herbal drug evaluation,
Impact of Ethnobotany in traditional medicine,
New development in herbals,
Bio-prospecting tools for drug discovery,
Role of Ethnopharmacology in drug evaluation,
Reverse Pharmacology.
5. The focus is on form,
not content,
on language, not on
Exophora (biography, culture,
history, religion… )
6. "Literary works […] resemble
machines: they are the result
of an intentional human
activity in which a specific skill
transforms raw material into a
complex mechanism suitable
for a particular purpose"
(Steiner, "Russian Formalism" 18)
7. Emphasis on the functional role of DEVICES
How does
a car
work?
Break the
devices down
into their
constituent
parts!
8. A text is made
up of devices
Similarly…
Stylistic devices…
Literary devices…
Narrative devices…
9. 1.Formalism's Technical terms
Fabula (Story) vs. Syuzhet (Plot)
Practical and Poetic Language,
Literature and Literariness.
Foregrounding vs. Backgrounding
13. “is about a guy (Edward Norton) who invents an
alternate persona, Tyler Durden (Brad Pitt), in
order to give himself the courage to break out of
his mundane white collar existence.”
Fabula (Story)
14. MORPHOLOGY OF THE FOLK TALE
(Propp) [1]
Syuzhet (Presentation, Plot):
How is the text arranged?
How is the story told?
15. “The narrative begins at its climax, which is
interrupted, and only then proceeds to the
story’s chronological beginning. From that
point on, the film contains a mix of
chronologically-ordered scenes and bits of
narrative exposition that allow us, ultimately,
to return to and understand the climax, which
is then resolved in the final minutes of the
movie. Furthermore, the narration conceals
from us for most of the film’s running time the
fact that Tyler Durden is the psychological
creation of the nameless
narrator/protagonist.”
Syuzhet (Plot)
16. A classic text, commonly viewed as
one fountainhead of Narratology is:
Vladimir Propp’s
Morphology of the Folktale [1]
The discipline concerned with
Fabula (Story) and Syuzhet (Plot) is
called Narratology
17.
18. Narrative devices…
Narrative Structure
(The thirty-one functions of the Narratemes
Narrative Point of view [2]
(First/Third/Second person narrators…etc)
Characterization
(The Functions of Eight Dramatis Personae: the he
22. “Poetic speech is framed speech.
Prose is ordinary speech –
economical, easy, proper, the
goddess of prose [dea prosae] is
a goddess of the accurate, facile
type, of the “direct” expression of
a child” (Shklovsky 20).
23. Poetic Language is
“a difficult, roughened, impeded
language.”
This distinction between Poetic language and
Practical language is introduced by Shklovsky
and applies to all artistic forms.
It is basically what makes…
25. “The literariness or artfulness of a work of
literature, that which makes it an
aesthetic object, resides entirely in its
devices, which should also form the sole
object of literary studies. The aesthetic
value or purpose of art, embodied in the
devices, consists in creating in readers or
viewers a heightened awareness, making
them see things anew “
(Coleridge’s Freshness Of Sensation, Ezra Pound’s
Making It New).
27. “Art makes the familiar strange so that it can
be freshly perceived. To do this it presents its
material in unexpected, even outlandish ways:
the shock of the new.”
o
s
t
r
a
n
e
n
i
e
Viktor Shklovsky
(1893–1984)
28. “And so, held accountable for nothing,
life fades into nothingness.
Automatization eats away at things, at
clothes, at furniture, at our wives, and at
our fear of war. [...] And so, in order to
return sensation to our limbs, in order
to make us feel objects, to make a stone
feel stony, man has been given the tool
of art.”
29. The purpose of art, then, is to lead us
to a knowledge of a thing through
the organ of sight instead of
recognition. By “enstranging” objects
and complicating form, the device of
art makes perception long and
“laborious.” The perceptual process
in art has a purpose all its own and
ought to be extended to its fullest.”
(5–6)
30. To make the familiar
strange…
[the shock of the new]
is…
32. “The technique of art is to
make objects 'unfamiliar',
to make forms difficult, to
increase the difficulty and
length of perception
because the process of
perception is an aesthetic
end in itself and must be
prolonged. Art is a way of
experiencing the artfulness
of an object; the object is
not important.”
(Shklovsky: Art as Technique)
33. “Art exists that one may recover the
sensation of life, it exists to make one feel
things, to make the stone stoney .” (Shklovsky: Art as
Technique)
)
38. 1.Unusual/Unreliable Narrators
• A Horse in Tolstoy's Kholstomer;
• A deranged person in Poe’s The
Tell-Tale Heart”
• A mentally retarded in Faulkner’s
The Sound and The Fury
39. 2. Language:
• Neologism,
• Compounding,
• Peculiar syntactic constructions (too
simplistic, or too complex…)
• Absence or lack of punctuation,
40. 3. Vulgarity of expressions:
(e.g., The stylistic shift between the
obscene and the sublime in Pushkin’s
'The Waggon of Life,)
43. [1] Vladimir Propp (1928) Morphology of the Folktale, trans. Laurence Scott, revised Louis A.
Wagner (Austin: University of Texas Press 1968).
[2] Roland Barthes, "Introduction à l’analyse structurale des récits" (1966 Introduction to the
Structural Analysis of Narrative, "Image—Music—Text, ed. and trans. Stephen Heath, 1977)
[3] Wales, K. (2001), Dictionary of Stylistics (2nd ed.) Harlow, Essex: Pearson Education Ltd.
References
[N1] Cliffhangers is an abrupt finale that does not really complete the plot and
often leaves the main characters in a precarious or difficult situation, e.g.,
Raymond Carver collection Short Cuts (1993) “Neighbors”; “Vitamins”;
“Will You Please Be Quiet Please?”
In medias res, the point of attack (the beginning of the story) is set close to the
climax of the action; in ultimas res, it occurs after the climax and near the end
(See Manfred. J 2003).