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Textual and Comparative Studies - Coggle Diagram

- - - - RUSSIAN FORMALISM, Russia 1920
        
        PROPP: studied a corpus of fairytale and identified some common structure = morphological approach to literature, interested in the way language is used in that fictional work and text.
        
        JAKOBSON, interested in how a language works in a poem in literary texts and distinguished between ordinary communication and literary communication.
        
        TO UNDERSTAND WHAT A TEXT IS we have to understand how it works and how is composed, its LITERARINESS = stylistic devices, like metaphors, defamiliazation.. are essential distinguish between literary and non literary texts. The meaning of the text is to be found in the text and how it is structured IS NOT WHO WROTE THE TEXT but HOW.
        
        DEFAMILIRATION: Tolstoj, a horse narrated the war.
        
        In the end a TEXT is is more open while and is working space with a WORK is close
      - STRUCTURALISM, France 1950
        
        Barthes: WOrK is the physical thing and TEXT is much bigger than the book itself. Work is approached and experience in relation to sign and the text is experienced in relation to signified. Text open to intepretation, while work is closed to related meaning.
        
        TEXT as ORGANISM which grows and NETWORK , the meaning of the text is also constructed by the read, important figure in structuring the meaning of the text (Death of the author) -> lead ro the notion of interpretative community by FISH, according to whom each reading of the text is valide, limit to ECO'S OVERINTERPRETATION bc he gives the framework. Eco speaks of open work.
  - - - Weltliterature, 18th century
      - Revue de Literature Compares, 1920: payed attention to how certain authors and their works were introduced in an foreign country.
        
        Goethe introduced trough a French approach
        
        Interesting from and editorial POV: translation -> es. Strasbourg
        
        Considered the receiving factor: response theory
      - Theory of Literature, Wellek and Warren (1942): first attempt to formalise the discipline. Literature could be and object of study and could be theorised = Looking at structure and infrastructure
        
        DEBATE FR VS. THE,: The point is not only to compare, but to stress the distinction between things, bc in this way you get aware of the specificity of these things.
        
        In the French approach there is no difference between the study of Shk in 18th France and the England, focusing on similateries but in this way you miss cultural context of both fr and ENG.
        
        Around the debate many different approaches developed
        
        Fish: maxist, text made by the context
        
        BOTH LET US KNOW OF THE COMPLEXITY OF THE LITERATURE
        
        Derrida: nothing outside the text, everything is in the text
        
        The point is to focus on the text
        
        basis of close reading
        
        LITERATURE AS TOTALITY like Auerbach: universal idea of literature especially western one
        
        Confronto sistematico tra letterature orientali e occidentali
        
        We are in 1942, and this is a way to avoid nationalism But also to pay attention to nation tradition in a truthful way.
    - - Thematic development, Joyce Ulysses. Paris, 1922. Idea of literature as totally, plays with symbolism and languages games, where unity is given by the framing the narrative adapted from the greek epic, Odyssey. Modernist novel, Joyce one of the founder.
      - Picots, Roseau: La literature Compare -> methodical art, we can compare a work of the 18th century and one of the 19th century from another country and language. Decrire, Comprende and Gouter.
        
        Gouter, is the most important aspect, comprative literature is a way of enjoying texts -> Barthes, the please of the text -> physical pleasure in reading
      - Linda Hutcheon: Comparative literature is congenitally contrarian, a discipline in constant change. It depends on the context, on the world changing = it must be constantly updated. Theory and Comparative literature relationship is very tight.
      - Weninger, 2006: comparative literature is neither in decline nor in rise, but always changing ,and it deals with different elements, like science.
- - - - INTERTEXTUALITY: presence of a text within another -> plagiarism, quoting of allusion.
        
        In itself is a comparative practice and is related to the degree of cultural awareness that the reader has, as also Barthes points out.
        
        Even used by writers, like Joyce with the Ulysses: plays with epica narration and the odysse, to narrate the story of one day of a life of a ordinary man = masterpiece of modernist tradition.
        
        IS ALSO PARODIC
        
        Meaning Hutcheon: the subversion of the epic elements. First edition of Joyce we talk of Architextuality.
        
        Eliot, the Waster Land: collage of different quotation without quotation marks, ranging from different cultural tradition and languages.
        
        The poet is also a reader as Eliot says in his essay = poet himself is an intertext. Pound was friend of him, and his creed was make smth new from smth old.
        
        Hutcheon says that we should look at the context as well: Joyce was irish living in Paris, in portrait a lot of referenes to irish tradition. Ulysses written when he was in Paris, in. mixed enviroment.
        
        PM FUCTION OF IT: given for granted. Boudrillard said that in PM reference to reality disappeared and the only way is to make reference to another construction of sign. No interpretation can be original bc is already mediated by the constructions of signs.
        
        BLOOM wants to establish the figure of the author in the idea of intersexuality: notion of influence, which is the one of text on another text, bur more commonly an author on another author = sort of psychoanalytic form. THE ANXIETY OF INFLUENCE, the threats of great author and the Oedipus complex. The anxiety is to find his own voice and to differentiate it from the loved author's one.
        
        The notion of INFLUENCE is not new, was present in the 19th century think about the hunting for sources. At the time literature was related to philology. Though Bloom's idea is more complex.
      - PARATEXTUALITY: Relationship between literary text and a social text trough title, subtitles, covers
      - METATEXTUALITY: text and its commetary
      - HYPERTEXTUALITY: Relation between a text B with is the Hyptotext and text A which is Hypertext, but is not a commentary.
      - ARCHITEXTUALITY: like Poems, Essay...frames in a different way
      - es. ULIPO dealing with contemporary literature but present in ancient one as well
- - - - NOVEL: Starts with Don Quijote, 17th century. Related to the borghesie = the rise of individualisation, the subjects starts to be an individual. Ordinary man and we see ordinary thoughts, sentiments and so on.
      - EPIC: Deals with elevated themes like war and heroes, has a shared belief in a certain order of things. The subject is a hero, part of the best human being and is a model for the entire human beings.
    - - ART AND LITERATURES AS EXPRESSION OF THE FORCES BUILDING SOCIETY, characters representative of social class and they fight their own way.
      - Epic is concerned with the totality of thing while novel with particular, the fragmented categories of society and with the inner life.
      - Epic as a way to represent the inner order of things while the novel is an attempt to give form to what is formles: in the epic everything is clear from the begging while in the novel not.
      - THE NOVEL IS AN EPIC OF A WORLD ABANDONED BY GOD
  - - - NARRATOGICAL: hownarrayive works by giving an abstract framework
        
        Narrative
        
        Story
        
        Narration
      - STYLISTICS: analysis of modes and of forms displayed in a text, which have to do also with the historical context
        
        AUERBACH: phylogist conceived history as moving in cycles, so stratification of recurring elements and forms. In Instabul he wrote Mismesis, much of them quoted by heart, from classical tradition to modern one.
- - - - Instead of focusing on the tension between individual and social plan attention to the common mind on a common dya.
  - - - Narrative voice disappear, to reach a naturalistic description.
        
        PERFECT OBJECTIVISM that is the main point fonte naturalist novel
        
        Paramo and Rulfo the narrator dies
      - Crisis of the omniscient narrator: James, What Maie knew = the whole story is narrated by Maie, but only what she knows.
      - The narrative voice in Proust, Woolf do not possess previous knowledge of the story and the characters.
      - NOVEL ESSAY = novels that reflects on ideas and notions
    - - Affect even ENIDINGS: Ending without resolution ≠ Jane austen
    - - Tolstoy
      - Charahcter are human beings
      - Caught in a moment of formation and not representative of social type, depicted in the middle of personal crise. They act with non-consequential decision. Es. Coscienza di Zeno
      - Development of interior monologue as form of narration
        
        Describe subjetive crises: Woolf
        
        Describe society: Ulysses
      - Knowledge of the character is given by how the think not how they act
    - - DEVELOPENT OF THE ESSAYSTIC FORM in PM is even more present in Wallace there are footnotes.
        
        SUBCATEGORY: NOVEL BASED ON A PREPARATIRY SCHEME. Joyce Ulysses based on the Linate scheme.
      - ESTRANGEMNT AS FORM OF REPRESNATION
        
        Presente in poetry particularly, Mallarmen difference between normal language and poetic one. Modernism has a different way of representation that is symbolic.
      - INWARD TURNING: notion by Eden. Focus on the inner world of the charctees. Es. Jane Austen. Es. Madeleine in Proust.
- - - - Two parenthesis: one in which mrs thinks all soruuoding her and the place and we have fragmentation. Both devoted to the visual impression
        
        Description of her thought while she is measuring the stockin, she is thinking about everyone else not the stocking
        
        When we are told of her inner state and cosciosnnes against what other thinks of her.
    - - MAGNETIC POLE: focus on how ppl see her and how she see other = bidirectional gaze.
      - Maybe a reflection on her marriage, not a happy one maybe she is projecting on others
        
        Some critics considered it as subversion of marriage plot.
    - - Unity of space and time is fragmented a constant movement between here and now (the room) and other places and times. On a microscopic level in the construction of the text with quotation marks, parenthesis... mixed tocreate a stratification of voices.
      - Infleunce of BERGOS: time is not objective time but is subjective. Time is stratified, the present time is charged with past. ES. Madeleine. We know that Woolf knew Bergson.
      - FINALLY AUERBACH talking of PROUST talks of OMNITEMPORALITY: time is plural and startified, in a sort of way present, past and future can coexist. In the end TTL is about the process of thinking
      - Central part: Time is passing = house. Time passes but sometimes we are told of it passing trough [] GIVING US INFORMATION OF WHAT HAPPENED, like the death of Prue.
    - - to express the inner cosciounes of a charter, often is unstructured and chaotic flow of though and emotion. Es. McCormac + Waves
      - INTERIOR MONOLUGUE: to show the thoughts in the mind of a character ≠ SOC here we can detect who is thinking while in the SOC is not so clear. Is not a new technique but what changes is that once was used to better explain the choices of a character, a kind of logical consequence. In TTL we can skip this part and we can still have the same effect
- - - - Mixed language: both lyrical, description and dialogues
        
        Becket''s language denies its communicative function and he exhaust it. In TBA language is avant Garde, and uses repetitions like Stein. The same idea is to be found in an essay by Mallarmé "there are no flowers in this page". Mr. Tartle speech echoes a pure langauge: language freed from the meaning, which is not made by signified but by signifiers. There reference is Beckett.
        
        The CHANT: there seems to be arythm, created by the constant repletion of some elements used to empty the meanings = USELESS.
        
        To Cowart, TBA fragmente dlangauge is a symptom of a traumatic event that is objectified into another body or another voice = so MR TURTLE IS A PROJECTION of her mind as to deal with a traumatic event. YET LAUREN IS VERY CONSCIOUS
        
        still REPETIONS ARE USED TROUGHT THE WHOLE NOVEL.
      - ≠ PM ideata everything is disconnected, for him everything is connected
      - Haunted houses and ghost
      - EPIPHANY: linked to pauses and has the function of linking parts togerth like in TTL. in TBA even the epiphany is shifting, is not smth related to Lorraine but to the narrative and to time.
        
        ≠TTL where epiphany is a life defining moment for Briscoe, here not is a new begging.
    - - THE NAMES contains a reflection on society and films, and the media. He has the ability to put cultural discourse in the narrative and to reflect about it. The idea that everything is simulated and not completely real.
        
        In TBA he is a film maker and Lorrain is a perform artist: we have the difference between cinema and threaten here, T has a body on stage so is kind of real while film-making is much unreal.
      - Attention to mass media society and is the case of Libra and the JFK assassination = different pOV on the aasaiantion that has been derealised trough the use of massive use of images and mass media. Is a turning point for Dl bc it was filmed = we have different films from different pOV. It was the first time that in history smth like that happened.
        
        He reconstruct the life of Oswald he reconstruct the kind of consumeristic society and media society Oswald was living in = he was looking fror fame and one that ppl would film the event. An historical event that can be reconstructed trough reocntruction. Also basing himself on the accounts of his mother
        
        Here he use even a legal document that is the warren report = USE OF MULTIPLE FORMS OF EXPRESSION AND LANGUAGES. All these elements are used by PM writers to deal with HISTORY, in most PM narrative we will find elements coming from institutional documents.
        
        JAMESON says that PM fiction sees the representation of HISTORY trough the idea of PASTICHE.
        
        Idea that is present in FOUCLAT
      - POST MODERN CONDITION, Leotard. PM condition is the socio political situation that determined many elements of the post war society and in particular in terms of politics. PM society is much more fragmnted.
        
        If M society was based on MASTER NARRATIVES so the idea that a lot of ppl shared the same way of considering society and themselves the PM cannot rest on it. Thta's why PM is always associated with PC bc we have the a constellation of counter narratives that decotruct the mater one.
        
        No more Universal truth
        
        AUTHENTICITY: Woold aimed at reaching the authentic self, that exist and that is in contrast with the social contruction. metaphor: we have to act a role. in PM writers do not believe in the authentic slef, they are dealing with representation
        
        In TBA dailogues are inauthentic and constructed, we don't have normale exchanges.
        
        The aim of artist is not to finding the real self or truth an authentic way of living, BUT decotrsucting the project of the representation of art. Everything is a DEJA VU = is impossible to dos smth new bc everything has been done. If in M the search is for authenticity in PM the search is for REPRODUCTION OF REALITY.
        
        ARTIST ARE DEPICTED WHILE PLAYING SELF REFLEXIVIELY with the problem of finding an original form of expression.
        
        ORIGINALITY AND AUTHENTICITY ARE TWO DIFFERENT THINGS
        
        ART in PM has a political function and a social one.bc interrupting the cycle of reproduction.
      - DEFAMILIARIZATION and use of SPECIALISED LANGUAGE: Use of specific language that is present even in TBA bc we have a journal articl, with his language.
      - INDETERMINACY: while M is looking for smth authentic PM is dealing with identerminacy. HASSAN SPEAK OF INDETERMINANCE. this is to be found in ALTERED PERCEPTION: there are parts in which Lauren is described seeing smth but is seeing smth different.
- - - - DISTANCE
        
        Diagetic: summarisation of the fact
        
        Mimetic: dialogues and the representation of the story trough scenes
        
        HISTORY: first formalisation with Poetics by Aristotele.
      - PESPECTIVE: how much the narrator allows us to penetrate in the charchter or the event. es. in TBA we know of the performance trough the article.
        
        Genette talks of POV instead of localisation which could be external or internal.
    - - Narrative time: where is the narrative instance situated with respect to time. Is indicated with TENSE OF VERBS.
      - Narrative levels: like a story within a story.
      - Narrative situation: the temporal setting of the enunciation
      - NARRATIVE VOICE
        
        intradiagetic: part of the story
        
        extradiagetic: above the story, like the omniscient narrator
        
        homodiagetic: narrator who is a charchter in the story
        
        autodiagetic:charachters tells his own story
        
        heterodiagetic: narrator who is not a charchter in the story
    - - Frequency
        
        REPEATING NARRATIVE: repetition of the same discourse narrative in different moments.
        
        SINGULATIVE ANAPHORIC: multiple reprenstation, of several story moments.
        
        ITERATIVE NARRATIVE: its represent smth frequent
        
        SINGULATIVE NARRATIVE: singual action and singular narration
      - Order: sequence of events in relation to the order of narration.
        
        Normal sequence: the narrative follows exactly the development of the events
        
        Anchronies: the order is rearranged, there is discordance between narrative and story, events are narrated with a different organisation in relation to when they happened.
        
        PROLEPSIS: the event took place after the narration, so its is anctipated. Typical of the omniscent narrator with formulas like its will be clear why.
        
        METALEPSIS: movemente between one narrative level to another, so like a writer who writes a story and suddenly this charchter become a charchter in his life. Frequent in pM and we can find in the Egan.
        
        ANALPSIS: the event took place before the narration
        
        External: it outside the context of narration. Es. we may understand smth about the character, is the case of TBA when we are told or Ray's past in the obituary
        
        Internal: inside the context of narration. es. someone lost smth and we are told how.
        
        Mixed
        
        Heterodiagetic:
        
        ANACHRONIES: are event that cannot be located in the chronologically in he story.
      - Duration: asychronies between ST and NT, referred to rhythm at which the event take place. Relationship between the time it takes t narrate and the event.
        
        SUMMARY: NT is shorter than ST. like in TTL bc the war is summarised in 10 pages, and we have a selection of information.
        
        IMPLICIT: describing the event and we are told of a wife-
        
        EXPLICIT: when this is explicitly done.
        
        PAUSE: conincdie with descripition. is the case on contemplation or the epiphanies, which allows us to enter in the consciousness of the character.
        
        iTERATIVE PAUSE: TTL the epiphanies has the function of connecting, they are not just descriptions.
        
        STRECH: developed by another scholar starting from cinema, is when the NT is long than ST, is the case of the slow-motion. in TBA we have an example, when the paperclip falls = associated wit sense of memory, bc you may have experienced it.
        
        ELLIPSES: discoruse stop and time continue to pass in the story. Like in TTL when Briscoe is Brough to bed, and the next passage is when waking up. Or in TBA when she wears a sweater to the moment the is in town.
        
        SCENE: NT = ST, like in dramatic action. In dialogues and theatre = readers are invited to see what is going on.
- - - - The novel plays with time in different directions. IT NEUTRALIZE TIME: time is fictionalised-