Please enable JavaScript.
Coggle requires JavaScript to display documents.
UK Literature - Coggle Diagram
UK Literature
Shakespeare:
comedies = happy ending + complex plot + rely on disguised identities + farcical scenes, practical jokes, puns, ... + blends realism and fanciful
laughter = leveling and equalitarian tool + show the power of theatrical illusion and how to be a good spectator
theater= most pop genre (inside buildings) and lit and arts abt social order to judge and mirror society
tragedies = noble characters + endowed w/ overwhelming passion (hubris) + moral conflict leading to death (fate unescapable) --> environment distrurbed by their mistakes + after death --> go back to normal + round characters + scenes of comic relief to alleviate the tension
-
in tragedies --> gives clues and hints regarding the end of the plays (death and cannot escape their fate)
order of society: monarch --> nobles -->gentry --> yeomanry --> poor ==> any disruption to the order = threat to society
tupsy-turvy world in his plays = reversal of the hierarchy + metatheatre = theatre in theatre + dramatic irony (sense of complicity w/ the audience) + reminding of theatrical illusion
feet = grp syllabes regrp autour d'une syllabe accentuée; le plus connu = iamb (/ u) = effet solennité et anticipation; trochee (u /) et spondee (/ /)
Romanticism:
Coleridge:
fancy = lower faculty to associate ideas and do not create sth new // imagination = higher faculty change and create sth new from a material and poetry = imagination
reaction against the Enlightenment period and thanks to the Fce and US R° and also to follow their intuition and instinct against reason
-
-
simple La --> mirror the way men speak and to have an organic poetry ==> accessible to everyone + expression of strong feelings and emotions + considered children as allegory and symbol of innocence (society = corrupted)--> should reconnect w/ it w/in us + emotions recollected through meditation --> quest of the self + contemplation of nature (go back to our primitive state)
the beautiful = classical tastes and privileged harmony, order and balance
the sublime = overpowering emotion in presence of what if grand and impressive --> is in awe in front of it (nature) + is not perfect, irregularities in nature
Modernism:
transatlantic mvt shaped by 2 major events for the UK: WW1 --> sense of disillusionment + Irish Q in the 1920s (Easter Rising 1916 - R° party Sinn Fein was elected and proclaimed independence 1918 - Irish CW 1919 - 1920 - the "Troubles" leading to the partition of Ireland 1920 - 1922
fragmented writing: no more respect for conventions (TS Eliot = makeshift poem w/ magical tone, landscape destructed and lots of ruins --> collects fragments of what is left + effect of juxtaposition + strange writing bc wants to show shattering of all illusions + broken-up rhythm + visual fragments
-
task Mod writer = to portray as truthful as they can interiority of the human mind and the flow of thoughts --> human mind is not properly organized nor linear but to capture thoughts as they happen
their most used tech to portray this = stream of consciousness either w/ no punctuation at all --> rambling of thoughts, never-ending long sentences, mirror the pre-level speech (verbalizing = organizing thoughts) or w/ excessive punctuation --> broken-up rhythm, disjointed or not thoughts not supposed to go together + associational logic, juxtaposition, ...; if no intermediary --> directly into the mind of the character ==> DIRECT stream of consciousness but if there is a narrator ==> INDIRECT stream of consciousness bc filters what we see and hear si its presence is felt (more or less) but rambling of thoughts and long sentences
Chaucer:
gives voice to everyone --> people are from different social classes - high and low - nun, workers, women, ...
each tale is from a different genre (fable, Breton lays, sermons, romances, ...)
romances = abt chivalry values, abt a knight pledging allegiance to his lady + if does have values, will improve spiritually and become a morally good person
-
-
Charles Dickens:
-
as author: began as a journalist and then published his works in a newspaper so that people had a cheaper access to it; as it was serialized, this influenced his style (create suspense and cliffhangers, maintain the reader's interest, gave clues abt what happens next and as people discussed his works --> could listen to them to please them w/ the end.
concerned abt the working conditions of children especially --> dvpt of children's literature + lots of melodrama in his works bc wanted to depicts society as genuinely as possible (harsh and dehumanization) so wanted to bring out our humanity throughout emotions (created pathos --> sympathetic for readers)
women in the 19th:
Austen:
parodied sentimental novels (Rom) and Gothic ones: lack enthusiasm + comical reaction + Mr. Collins himself + lack of romantical love from him + role of matrimony + F entrapped --> have to endure it + he refuses to treat her as rational being --> capable of reason, she thinks ==> narraive voice ridicules him
turned to novel of manners = recourse to satire and irony + dissects social conventions and behavior of a certain grp of people + F considered as emotional creature --> stay at home (Separate Spheres and Angel in the House) ==> novel emphasizes reason and fact that F capable of it
published same time as Rom but not one: Rom = excess of sensibility // JA finds a balance + î in indi and solitarity experiences // characters almost never alone + influenced by demo beliefs // far from these concerns --> don't touch order of society and maintain it (from gentry + nobility)
Brontë:
inspired by Rom and the Gothic ==> hinge b/w Rom era and the Vic era ==> hybrid b/w a Gothic novel and a realist one bc: dom setting surrounded by Gothic elements (gloomy and dreadful atmos, hostile envi, horror, nightmares, superNa manifestations, ...) ==> duality b/w these 2 genres + unreliable narrator