Theoretical framework
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This document outlines the theoretical frameworks and main schools of thought regarding the relationship between film and literature. It discusses the precursors to film theory from the avant-garde, Russian formalism, and early 20th century writers. It also summarizes the influential semiological and narratological studies from thinkers like Christian Metz, Umberto Eco and Roland Barthes. Finally, it examines some of the key linguistic differences between film and literature, such as their approaches to space, time, and point of view, as well as some extra-linguistic aspects like their modes of creation and reception.
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The artist is not present: conceptualizing autobiography (the case of Stanisl...
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.
An Introduction to Formalism
Formalism was a school of literary criticism that originated in Russia in the early 20th century. It focused on analyzing the form and structure of literary texts rather than their context or themes. Key concepts of formalism include defamiliarization, where literary texts make familiar things strange through unique forms; fabula versus syuzhet, distinguishing the chronological story from its presentation; and literariness, what makes a text literary through defamiliarizing language. Formalism was later developed by French structuralism and influenced theories in English and America.
Formalism and Early Structuralism
Formalism was a school of literary criticism that originated in Russia in the early 20th century. It focused on analyzing the form and structure of texts rather than their context or themes. Formalists believed that literary language is distinct from ordinary language due to its use of defamiliarization, or making the familiar strange. They introduced concepts like fabula, the basic story, and syuzhet, the way it is presented, to distinguish literary from non-literary language. Propp analyzed Russian folktales and identified recurring patterns of characters and plot functions. Overall, formalism shifted emphasis to how writers manipulate form to achieve literary effects.
Dramatism
Kenneth Burke was an American literary theorist, philosopher, and rhetorician born in 1897 in Pittsburgh, Pennsylvania. He studied at Ohio State University and Columbia University but did not complete degrees. Burke had a prolific writing career and published several influential works on symbolism, dramatism, and rhetoric. He is known for introducing key concepts like dramatism, the pentad, identification, and the guilt-redemption cycle. Burke believed that language is a symbolic action and that humans are symbol-using animals. He viewed human motivation and behavior through a dramatistic lens.
Literary theory & criticism pt. 1: Formalism
Formalism is an approach to analyzing literature that focuses on the form of the text rather than its content or context. It originated with Russian Formalism in the early 20th century. Key concepts include Viktor Shklovsky's idea of "defamiliarization" where a text makes the familiar strange, and Roman Jakobson's identification of the six functions of language. Formalism sees language as the foundational element of literature and examines how meaning is derived from a text's literary devices, form, and style rather than external influences.
Mls 3
The document outlines key concepts from reader-oriented and rhetorical approaches to literary criticism including phenomenology, reception theory, and reader response theory. It discusses important critics such as J.L. Austin, Kenneth Burke, Wolfgang Iser, Stanley Fish, and Louise Rosenblatt. Key terms covered are performative utterances, stylistics, hermeneutics, horizon of expectations, the implied reader, and transactional reading. Sample analyses of works using these approaches are also provided.
theory of deconstruction
This document provides an overview of several key concepts in literary theory, including structuralism, post-structuralism, psychoanalytic theory, Lacanian theory, and the theory of deconstruction. It discusses major proponents of these theories such as Derrida, Foucault, Kristeva, and Lacan. Key aspects of deconstruction outlined include the literary and philosophical aspects, logocentrism, metaphysics of presence, différance, and arche-writing. Foucault's ideas around power/knowledge and different types of power are also summarized.
9 Types of Literary Criticism.pptx
This document outlines 9 types of literary criticism: formalist, biographical, historical, gender, psychological, sociological, mythological, reader-response, and deconstructionist. It provides a brief definition and key aspects of each type of criticism. Formalist criticism examines the formal elements of a text like style and structure. Biographical criticism considers an author's life to help understand their works. Historical criticism analyzes the historical context surrounding a work. The other types examine issues like how gender influences literature, psychological aspects of authors and characters, the societal contexts of works, common myths and symbols, reader interpretation, and how language constructs meaning.
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The document provides an overview of a lesson on postmodernism that introduces some of the basic ideas and concepts of postmodernism, including its origins and wider effects. It addresses examining postmodern themes through considering examples from media and pop culture and assessing how postmodernism challenges traditional views of art, culture, and society. The lesson also discusses preparing for an exam on postmodernism by reviewing key terms and previous exam questions.
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Structuralism views language and culture as systems of signs. Ferdinand de Saussure argued that in language, the relationship between signs (words, sounds, letters) is more important than the signs themselves. The meaning of a sign exists in how it differs from other signs. Structuralist critics view individual texts as exemplifying the underlying grammatical structures and systems of a culture. They aim to uncover the deep structures that allow us to make sense of cultural products like texts. Key figures who developed structuralist theories include Lévi-Strauss, Lacan, Foucault, Barthes, and Derrida.
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1 popular fiction
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Theoretical framework
- 2. MAIN SCHOOLS AND THEORIES • Precursors: The avant-garde Russian formalism Béla Balazs Sergei Eisenstein • ‘Précinema theories’: Etienne Fuzellier, Paul Leglise. • Claude Magny and the influence of film on literature. • Semiological and narratological studies: Christian Metz, Umberto Eco, Roland Barthes, Seymour Chatman, David Bordwell, François Jost.
- 3. THE LANGUAGES OF FILM AND LITERATURE • Linguistic definitions: What is Literature? Film Vocabulary • The concrete and objective versus the conceptual and subjective: Beginnings of The Maltese Falcon and The Great Gatsby • Diegetic discourse versus mimetic discourse. • Point of view • Space and time • Reception
- 4. OTHER DIFFERENCES: EXTRA-LINGUISTIC ASPECTS • Individual creation versus collective creation • Social (or conventional) limitations • Reading as a private act versus film as a show. • Other times: a wish to improve the original