Wstęp do literaturoznawstwa 7

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SHORT STORY:
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SHORT STORY: a fictional narrative, around 20,000 words (if more, called a novella/short novel).
TALE
TALE - oral or written May be anonymous Fictitious or true loosely constructed Often dealing with the fantastic Emphasis on action
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SHORT STORY - written Has a defined author fictitious (more) rigidly constructed Often dealing with the realistic Emphasis on the characters
SHORT STORY DEVELOPMENT
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1. Ancestors. •Parable, e.g. The Prodigal Son from the Bible •Tale, e.g. The Canterbury Tales, Geoffrey Chaucer •Fable, e.g. The Ant and the Grasshopper, Jean de La Fontaine •Fairy tale, e.g. Cinderella, Charles Perrault
2. Modern short story: the early stage. (19th c.)
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Connected to the development of magazines and the rise of the middle class •Event-plot story (William Gerhardie’s term) •The first modern short story: Walter Scott’s story The Two Drovers (1827) •Most characteristic for American literature
3. Modern short story: maturity. (20th c.)
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The most profitable kind of fiction •experiments with plot structure, chronology, characterization •Writers famous for short stories, a.o. Edgar Alan Poe, Anton Chekhov, Ivan Turgenev, Nicolai Gogol, Guy de Maupassant, O. Henry, James Joyce, Alexander Pus
THE FIRST SHORT STORIES
WASHINGTON IRVING - THE SKETCH-BOOK of Geoffrey Crayon, 1819-20
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LITERARY SKETCH, short prose narrative, often an entertaining account of some aspect of a culture written by someone within that culture for readers outside of it.
Informal in style, the sketch is less dramatic but more analytic and descriptive than the tale and short story.
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A writer of a sketch maintains a chatty and familiar tone, understating his major points and suggesting, rather than stating, conclusions.
WALTER SCOTT - THE TWO DROVERS in The Chronicles of the Canongate (1827)
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•Concerned with the life in the Highlands •Present personal dramas, passions
NATHANIEL HAWTHORNE TWICE-TOLD TALES, 1837
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Highly symbolic, allegorical •Treat on the moral and social subjects
THE GOTHIC AND THE DETECTIVE STORIES
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edgar allan poe - THE MURDERS IN THE RUE MORGUE (1841) - TALES OF THE GROTESQUE AND ARABESQUE (1840)
THE MATURITY OF THE SHORT STORY
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ANTON CHEKHOV • 1880-90s • experiments with chronology, narration and unity of the story
GUY DE MAUPASSANT
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1880-90s • Famous for twist endings, laconic style
JAMES JOYCE DUBLINERS, 1914
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JAMES JOYCE DUBLINERS, 1914 - • concern characters’ self-understanding • naturalistic depiction of society, emotive language • presenting static episodes, „slices” of reality
ERNEST HEMINGWAY
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• 1920s, 30s, 60s • relied on images and symbols; the „tip of the iceberg” effect • wrote in simple language and short sentences
JORGE LOUIS BORGES
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from 1920s till the 80s • kept in the style of magic realism; oneiric, labyrinthine quality
ELEMENTS OF SHORT STORY
a very compact form, presents only key characters, most important features and significant events; all the details matter • avoids repetitions and digressions • structured like a drama (exposition, rising action, climax, falling action, denouement)
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analysed like a novel: theme, setting, point of view, characters and characterization, plot (conflict), symbols • significant absence and the need to read between the lines
characteristic devices: epiphany, suspense • Poe’s theory: must be short enough to read it as a whole (in two hours) and must produce „single effect”, for which all the devices in the story are designed
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King’s theory: relies on narration, rather than the plot; description and dialogue, as means to make the characters alive • does not need to be realistic
“For sale: baby shoes, never worn” Ernest Hemingway
READING BETWEEN THE LINES
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„You take the blue pill - the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill - you stay in Wonderland and I show you how deep the rabbit-hole goes.” Morpheus in Matrix
DICTION: the choice of words, especially with regard to correctness, clearness, or effectiveness
e.g., formal/informal, slang, archaic, Latinized, etc.  diction vs style: style involves also syntactic structures
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POETIC DICTION: vocabulary appropriate for poetry, in distinction to prose; elevated and unfamiliar; currently it is believed there is no poetic diction
IMAGERY: a set of images created in the mind of the recepient with the help of words; an equivalent of sense experience
IMAGERY - visual: representing a thing  auditory: representing the sound, e.g. with onomatopoeia  olfactory: representing a smell
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gustatory: representing taste  tactile: representing touch  organic: representing internal sensation, e.g. hunger, fatigue, fear  kinesthetic: representing movement or tension
FIGURATIVE LANGUAGE
METAPHOR: a figure of speech that implies comparison between two unlike entities; e.g., dead metaphor: daisy =„day’s eye” Ancient metaphor: tempus fugit = „time flies”
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Familiar metaphor: „the heart of the city” Stock metaphor:„life is a journey” Mixed metaphor: joining two or more disparate elements, e.g., Brilliant sunshine rained down on Fort Collins.
KENNING:
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KENNING: in Old Germanic and Old English verse, a metaphor made up of a compound of two words, which became the standard phrase for a particular object, e.g. „whale’s road”=sea, „narrow house”=tomb
METONYMY: (from Greek metōnymia, “change of name”);
a figure of speech in which the name of an object or concept is replaced with a word closely related to or suggested by the original or an author for his works,
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e.g. I’m studying Shakespeare. Creates concrete and vivid images in place of generalities.
SYNECDOCHE:
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SYNECDOCHE: the naming of a part for the whole or a whole for the part; e.g. All hands on deck!
SIMILE: a comparison between two unlike entities. e.g., as good as gold, behave like a bull in a china shop
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Never, Iago. Like to the Pontic Sea, Whose icy current and compulsive course Ne’er feels retiring ebb, but keeps due on To the Propontic and the Hellespont; Even so my bloody thoughts, with violent pace, Shall ne’er look back... —(Shakespeare, Othello)
PERSONIFICATION:
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PERSONIFICATION: a figure of speech, in which human characteristics are attributed to an abstract quality, animal, or inanimate object
RHETORIC DEVICES
AMBIGUITY: use of words that allow alternative interpretations; a defining characteristic of poetry (William Empsons’s Seven Types of Ambiguity)
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polisemy: many (loosely) associated meanings; e.g. „record”  homonymy: convergence of unrelated meanings under one term, e.g. „bank”  syntactic ambiguity, e.g. „old men and women”
HYPERBOLE: that is an intentional exaggeration for emphasis or comic effect
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ELLIPSIS: deliberate omission of a word or words that are, however, understood in light of the grammatical context, e.g. „begin when ready”=„begin when you’re ready”
ALLEGORY: a figurative narrative or description, conveying a veiled moral meaning; an extended metaphor; popular especially in the Middle Ages; often one image corresponds to one particular idea behind it,
e.g. Gloriana=Queen Elizabeth (Faerie Queene, E. Spenser); Plato’s cave=physical world
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 personification allegory: e.g., Everyman political allegory: e.g., Animal Farm (G. Orwell)
SYMBOL: a concrete thing or the image of the thing standing for an abstract idea in an unnecessary, non-explicit relation; may have many interpretations
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e.g., the White Whale in Moby-Dick (H. Melville)
ALLUSION: an implied or indirect reference to a person, event, or thing or to a part of another text; bases on the assumption of common knowledge
e.g., "I was not born in a manger. I was actually born on Krypton and sent here by my father, Jor-el, to save the Planet Earth.” (Senator Barack Obama, 2008) follow the white rabbit
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e.g., "I was not born in a manger. I was actually born on Krypton and sent here by my father, Jor-el, to save the Planet Earth.” (Senator Barack Obama, 2008)
topical: referring to an event  personal: referring to a specific person
MYTH: a symbolic narrative, usually of unknown origin and at least partly traditional, that ostensibly relates actual events and that is especially associated with religious belief; e.g., the Flood myth, the Fall myth
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ARCHETYPE: a primary symbol, action, setting, or character-type that is found repeatedly in myth, folklore, and literature; e.g., Mother Earth, the Quest, the Paradisal Garden, Wise Old Man, the Hero
 see especially myth criticism of Carl Gustav Jung and Northrop Frye
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Morpheus= Wise Old Man; Neo=Hero
THEORY VS INTERPRETATION
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two approaches: analytical/scientific: creating models for the description of literature hermeneutic/interpretative: looking for new contexts

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