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p-s-bmc-3012-haruni · 2 years

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Assignment 1 - Industry Model - Hayao Miyazaki

Hayao Miyazaki is a Japanese animator, director, producer, screenwriter, author, and manga artist.

Over the years, he has created extraordinary, magical and whimsical worlds for both children and adults to lose themselves within.

Miyazaki is a genius, and his films succeed on many levels – technical, emotional, intellectual, philosophical, artistic, and political.

He is a co-founder of one of the biggest animation studios in the world, Studio Ghibli,

Miyazaki has directed masterpieces like Spirited Away and Princess Mononoke which have earned him critical acclaim as well as immense popularity on a global scale.

In 2003, Miyazaki won the best-animated film Oscar, for the spooky and surreal Spirited Away.

Early years

Hayao Miyazaki was born on 5th of January, 1941, in Bunkyo, Tokyo.

He is the 2nd Oldest of 4 brothers.

Father was director of his uncle's factory, Miyazaki Airplane, which made rudders for fighter planes, during WW2

He constantly liked to draw, especially planes.

His childhood dream was to become a manga artist.

During his 3rd year in High School, Miyazaki's interest in animation was sparked by “Panda and the Magic Serpent (1958)”, Japan's first feature-length animated film in color.

Miyazaki attended University in the department of political economy, majoring in Japanese Industrial Theory.

He joined the "Children's Literature Research Club", as it was the "closest thing back then to a comics club".

Around this time, he also drew manga; he never completed any stories but accumulated thousands of pages of the beginnings of stories.

Early Work

These are the studios he worked in;

In 1963, he began his career, working in television at Toei Animation as an in-between artist.

The first large-scale animation studio in Japan, between 1963 and 1971.

Following are some examples of his animation in early work;

1963 Watchdog Bow Wow

1971 Lupin III - Series

1984 Nausicaa of the Valley of Wind

He became chief secretary of Toei's labor union in 1964.

Miyazaki later worked as chief animator, concept artist, and scene designer on The Great Adventure of Horus, Prince of the Sun (1968).

Miyazaki’s first trip abroad was an important source of inspiration, and his great love for the European landscapes were integrated into these shows.

Following are some examples of his Manga in early work;

1969 Puss in Boots

1972 Animal Treasure Island

1998-1999 Tigers Covered With Mud

Studio Ghibli

Studio Ghibli was founded with Miyazaki’s friends and colleagues Isao Takahata and Toshio Suzuki in 1985.

Ghibli halted production in 2014 when Miyazaki announced his retirement, but reopened in 2017 when he decided to go back to work on How Do You Live?, which is currently some three years away from completion.

Miyazaki’s career as a feature-film director at Studio Ghibli:

Castle in the Sky (1986),

My Neighbor Totoro (1988),

Kiki’s Delivery Service (1989),

Porco Rosso (1992),

and later works Princess Mononoke (1997),

Spirited Away (2001),

Howl’s Moving Castle (2004),

Ponyo (2008)

and The Wind Rises (2013).

All of Miyazaki’s films are aimed at children or young teenagers. But he makes his films resonate with adults as well as children by keeping the emotions authentic.

Miyazaki does not underestimate the intelligence of children, or their powers of understanding. Characters in his films, they experience loss and sadness as well as joy, despair as well as hope, in a way that is relatable for both children and adults.

Miyazaki draws heavily on Japanese landscapes and culture, although the humanism of his films means they can be appreciated by international viewers. He loves the country’s woodlands (which he says contain more bugs than those of Europe), and he and his team made field trips to forests to research films like My Neighbour Totoro.

Themes and approach

Miyazaki tends to focus on female heroines, and his work has a feminist angle.

Miyazaki says he likes to create female characters because, he does not want his films to reflect only his own experiences.

Heroines that are powerful women in control of their own fates, and the destinies of whole cities and countries.

Flying is an activity which Miyazaki loves to animate, and it is a big theme of his films. Miyazaki’s father designed planes, and Ghibli shares its name with an Italian aircraft manufacturer.

Miyazaki likes the connection between creative design and engineering that goes into aeroplane design, and thinks it is similar to the process of making animated films.

Miyazaki’s approach to animation is based on Japanese anime, but is uniquely his own. Each of his films looks different, and each uses a unique colour scheme and library of shapes. His skill at depicting human movement has played a big part in his success.

Instead of writing the scripts and then adding the animation later – the modern Hollywood way, he focuses on the visual storyboards and then constructs the stories around the images he creates. Miyazaki’s focus on visual storytelling has allowed his imagination free reign.

References

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it-is-the-female-federal · 4 years

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i was gonna reply to your post saying this but it ended up being too long which is why i’m sending it as an ask lol

i think it’s important to understand that, for many of us, we struggle to implement those lifestyle changes because it involves unlearning deep seated attitudes and beliefs that we’ve held for most of our lives. it’s a radical restructuring of how we see the world, so it’s obviously going to be hard and it’s going to take time. as long as you see the problem and working towards change, even if only in small increments, it’s still progress. be patient with yourself. you’re not the only one struggling with this - so many of us are too.

but also, i genuinely think making lifestyle changes only goes so far in terms of activism, so i don’t think it should be the focus of your activism. while i agree that normalizing female gender nonconformity is important when working towards female liberation, I think activism that focuses on individual choices is always going to be limited in what it can achieve. after all, the focus on individualism is one of the greatest pitfalls of 3rd wave feminism. rather than criticizing personal choices, we should focus on organizing to fight for systemic change - that is what’s more likely to lead to large scale change.

i’ve heard this said on radblr before, but i think a woman who volunteers for feminist organizations, donates to feminist initiatives, reads theory, participates in her local government and advocates for feminist causes, etc. but still wears makeup or shaves every now and then is still making greater strides toward female liberation then a woman who is gnc but whose involvement in feminism doesn’t go much further than posting on tumblr. so while i think making those lifestyle changes helps, they’re only a very small part of feminism as activism.

anway tdlr; don’t beat yourself up about it

Thanks anon❤🧡💛💚💙💜

I personally believe in putting your money where your mouth is, so if I want women to be more comfortable with living gnc I should try it as well. Right now I am mostly focussing on school amd hoping that I can help women with my career as well as building confidences in the girls I babysit and especially the gnc one. I want to make a better future for the next generation, voted for a left party just 2 days ago in hopes to achieve a small change. Voted for a woman of colour, since we had this movement to make the parliament include more women as wel as poc. I also feel really self conscious about other issues, and that is why I feel like trying to be more gnc even if it is for a while and makes me uncomfortable, will help me later on. I know the style is not for me, I still like certain more feminine clothing nicer in looks and do not feel any different than wearing baggy stuff or only jeans and a tank. But I atleast want to give it a try to set an example for my girls (that is usually how I call the babysit girls) and for those arpund me that might need it as well.

#radfem #radical feminism #anon #nicoles asks

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femaesthetics · 5 years

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PART 3: 3RD WAVE (1990s-xxxx)

It was clear that women in the 1970s and 1980s greatly struggled through the topic of race, gender, and sexuality. The 1990s also struggled with feminist theory, politics, power, queer, and postcolonial theories. If white, middle- and high-class men were an issue, white, middle- and high-class women were too. There was a divide when it came to postcolonial and queer feminists when considering that gay rights were still not as highly acknowledged as they are today. However, the actions and movements of previous feminists were sure to have an impact on the future generation of women.

Judith Pamela Butler's theories became well known at this time and many debates were structured around Butler's theories (among others). Butler, an American philosopher and gender theorist, played a huge role in the third-wave feminist, queer, and literary theory.

In Tiina Rosenberg's article, On Feminist Activist Aesthetics, Rosenberg states, "Butler presented gender as a performative effect experienced by the individual as a natural identity, arguing against the assumption that the gendered identity category “woman” can be the basis for feminist politics on the grounds that attempts to deploy any identity as a foundation will inevitably, if inadvertently, sustain the normative binary structures of current sex, gender, and libidinal relations." (Rosenberg). French philosopher, social theorist, and literary critic, Paul-Michel Foucault also played a role and helped Butler create her theories, as "she adopted Foucault's argument that “sexuality” is discursively produced, and extended it to include gender." (Rosenberg). These theories helped bring to light the problem with the normative structures and expectations of gender and heterosexuality.

Other notable activists and theorists include Sara Ahmed, an Australian scholar who studies the intersectionality of feminism, race and queer theory, postcolonialism, and phenomenology. Ahmed made way for the scholar (now Professor and author) Chandra Talpade Mohanty, who worked on decolonize theory and solidarity practices. Mohanty is seen to build on Jodi Dean's "reflexive solidarity" explaining that communities matter; however, she focuses more on the solidarity of these communities, rather than 'sisterhood'. That is not to say that she believes all women struggle in the same way, but rather "argues for a notion of political solidarity and common interests, defined as a community or collectivity among women workers across class, race, and national boundaries that is based on shared material interests and common ways of reading the world." (Rosenberg).

We also can't forget about the person who started it all. Rebecca Walker, an American writer, feminist, and activist that coined the "third wave" in 1992. Walker became very well-known after her article "Becoming the Third Wave" in a magazine, in which she proclaimed that "I am the Third Wave." Amazingly, Walker then took part in starting Third Wave Direct Action Corporation with Shannon Liss. She co-founded the Third Wave Fund, later a foundation that would support women of color, queer, intersex, and trans people, to provide them with all they needed to become active leaders and philanthropists in their communities.

As follows, the first wave allowed for votes, the second wave called for women's liberation, the third wave tackled gender and queer issues. Around 2010 came the fourth wave of feminism; one that focused on racism and sexism (especially on media platforms), rape, equal pay, and, of course, feminism.

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octopuscato · 7 years

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cafeleningrad replied to your post “I do not like any kind of feminism. They all strike me as extremelly…”

I am totally for women having all the same rights as men, such as the medical care providance, education, pay. What tumblt twists 3rd wave feminism into is misunderstanding personal expression as political statement and pushing a misandrist agenda of “only women are good, all men are bad” which is ironically sexist. I don’t think a lot of tumblr feminist agenda represents what actual feminist right fights should look like.

I also fell into the trap believing tumblr feminism equals an universal feminist mindset… a there’re unhelathy mindsets spreading around here but internet activism in for of yelling at people and generalize genders is less far effective for the real world as many people on this platform like to think. Mostly I have the impressions their posts are for venting.

I can’t stand the constant “Look at all those horrible (cis white) men, lol they’re so cringeworthy!” I do get that some of it is venting, but when that is ALL you ever say on the subject, I can’t possibly take you and your feminism seriously.

The system that oppresses women also is harmful to men because it feeds them all this bullshit about what they’re supposed to be like to be a ‘real man’, and while men who do live by it make me cringe and often very angry and sometimes also laugh because it’s so nonsensical and often also ridiculous to watch . . . well. It’s still harmful to them as well as us, and it would be far more helpful all around if we could not see it as yet another (maybe even the most fundamental) ‘us vs. them’ thing. But that is apparently asking too much from most people - especially here on tumblr. When I see radfems with all their “men are inherently evil” and “study libfem theory, know thy enemy” rhetoric, it makes me sick.

Like, there’s no question that men try to oppress women all over the globe, and that a large part of existing societies are geared towards that. It’s not even a point of dicussion. And OF COURSE we’re allowed to be angry about it!

But if we can’t find a way out of the trap that thinking “We have to fight each other!” is . . . idk.

/rant

#cafeleningrad #lordhellebore answers

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hudsonespie · 5 years

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How Are Ships Named – Naming and Launching Ceremony

‘What’s in a name?’, a much-heard question of Shakespeare, from his acclaimed play Romeo and Juliet, always had an answer. The importance of a name was diverse in answers, nevertheless, it was often agreed that a name is nothing but an identity, the first door to one’s uniqueness. So we name everything. Every day, every new thing in this world is given appropriate names; the new-borns, new businesses, artworks, literature, equipment, vehicles and so forth.

As usual as everything else, the newly launched vessels also get names. Almost every watercraft, be it civilian or military, ceremonially named before being launched into the water.

However, unlike the casual naming of vehicles on land, at sea, the process of naming a vessel is a colourful event. The answer to why and how ships are named enthusiastically is filled with several interesting facts.

History and significance of ship naming

The tradition of naming a ship ceremonially dates back to thousands of years. While every other decision on the building of a ship is purely scientific, the decision on naming a ship has often taken considering beliefs, customs and even superstitions.

Image Credits: inselvideo – Youtube

Traditionally, the naval community believed that the name of a ship has a great role in bringing good fortune and safety to the vessel, its crew and passengers.

The history of ship naming ceremony also dates back to thousands of years. There are several pieces of evidence suggesting the naval community in Babylonia used to perform ship launching and naming ceremony in the 3rd millennium BC.

Similarly, mariners from Rome, Egypt and Greece had conducted christening ceremonies to seek help from their gods to protect their vessels before starting the first voyages.

While every civilization had its own traditions regarding naming vessels, during the Viking age, ship launching was marked by the spilling of blood, and during the medieval age, the wine was offered to replace blood.

How are ships named?

The procedures and practices involved in the naming of a ship have evolved over the centuries. At present, the ships are named during the ceremonial ship launching, observed as a public celebration as well as a solemn blessing after completing the construction of the ship.

On the day of ship launching, the ships will be decorated with flags and colourful ribbons and the celebration is accompanied by the performance of musicians.

Image Credit: nassco.com

Though there is no formal procedure to name a ship, usually the ceremony begins with the launching of the vessel. After the ship is launched, the vessel’s godmother (another traditional practice in which a female civilian ‘sponsors’ a vessel to wish good luck and safe journey) smash a champagne bottle on the bow of the ship.

The christening ceremony will see the ship’s name is being officially revealed in front of the invited audience.

While naming a civilian ship is solely a matter in the hands of its owner, the procedures to select a name for a new military vessel is different from countries to countries.

Earlier, most of the civilian ships were named after goddesses and other mythical figures, the practice later changed as owners started to name their ships after female names that are important in their life.

The ship naming conventions of countries with naval powers are followed in order to select a name for a new naval vessel. For instance, vessels of the US Navy are named by the Secretary of the Navy under the direction of the President in line with the written rules for naming different categories of ships.

The names given to US Navy ships include prominent geographical locations, names borne by previous remarkable ships, names of naval leaders, national figures, and also deceased members of the Navy and Marine Corps who had have honoured for their contribution to the nation.

Why ships are named after women?

Ships are usually female, but not always. Traditionally the ships were referred to with the feminine pronoun though this practice is in steady decline in these days. There exist several theories explaining the reason for this practice that must have started centuries ago.

One of these explanations, as already mentioned, is that earlier ships were named after goddesses and other mythical figures, seeking protection for the vessel, and its passengers and crews.

Also, the sense of nurturing and protection associated with female names also played a role in following such customs. People have often likened ships to a mother taking care of her child- a maternal protector of the crews and passengers.

Image Credits: nassco.com

Some argue that ships were referred to with the feminine pronoun since those who controlled ships earlier were men, who considered their relationship with their ships as personal.

Considering the linguistic aspect, some have argued that the idea of a ship as a female object became embedded in maritime tradition because the Latin word for ship, ‘navis’, is feminine. Besides these, there are several sexist arguments cited as the reason behind this practice, such as the beauty of the ship; needs a man to handle her; need good effort to keep her good-looking etc.

Whatever the reason behind, the ships, especially civilian vessels, have been named after a female most of the time in the past. While naming after goddesses was a practice in the distant past, the names of queens and princess were used in the later period.

At present, owners often choose names of important women in their life or even popular female names to help others recognise their vessel. However, modern times have witnessed a significant decline in this practice, thanks to the feminist language reform.

Other interesting facts about ship names

The stories about ship naming never end. What seems like a trivial practise has more complex elements in it.

One can find the name of a vessel in several places on the ship. The owners of the vessel are directed to print the name of the vessel on both the port side and starboard bow and the superstructure.

Similarly, sometimes ships carry two names- one printed on the hull and the other that is stated on the bareboat charter party- considering legal or financial interests.

Once given, the name of a ship is not eternal. Though many believe that it’s bad to luck to change the ship’s name, the name of a ship often changed when the ownership of the vessel changes.

Sometimes, the name of an older vessel which is destined to for demolition also changed, often to a variation of the previous name.

Over to you..

Do you know any other interesting things about ship naming?

Disclaimer: The authors’ views expressed in this article do not necessarily reflect the views of Marine Insight. Data and charts, if used, in the article have been sourced from available information and have not been authenticated by any statutory authority. The author and Marine Insight do not claim it to be accurate nor accept any responsibility for the same. The views constitute only the opinions and do not constitute any guidelines or recommendation on any course of action to be followed by the reader.

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teamamoslondon-blog · 6 years

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Gender

Before to begin, you have know that through this article I will not focus on the history of women in sport but more on gender in general because I prefer to leave this part to my classmate.

As we learnt before in class, understand the history of gender have six main objectives :

• To gain an understanding of social theory

• To recognise masculinities

• To consider the historical hurdles women have had to overcome in sport

• To understand how sexuality drove the late 20th Century agenda

• To recognise how the USA civil right movement changed female sport

• To challenge societies gender norms

First, I will explain to you only the Feminism Theory. It consists of 4 phases.

The 1st Wave (1840-1920) was about women‘s role in public life. It was focused mainly on suffrage, alongside other legal rights. Movement succeeded in gaining women the right to vote (1918) and other legal liberties in early 20th century.

The 2nd Wave (1960’s-80’s) began after women took on different “male” roles during the 2nd World war and concerned women’s private lives and their role in the family (oppression). It was focused mainly on sexuality, reproductive rights and the wage gap. Movement succeeded in securing career options for women, and many reproductive rights during the 80’s.

The 3rd Wave (1990’s-2000) was against the patriarchy. Women didn’’t want wage gap between men and women, they aslo wanted to stop Sexual harassment. To sum up, women wanted to be no longer victims.

The 4th Wave (2008-nowadays) feminists are often associated with online feminism, especially using Facebook, Twitter, Instagram, YouTube, Tumblr, and other forms of social media to discuss, uplift, and activate gender equality and social justice.

However, strereotypes are always present today. For example masculine norms, include:

- self-reliance

- restricted emotions

- sex disconnected from intimacy

- pursuit of achievement and status

- strength and aggression, and homophobia.

And these reinforce gender roles by associating attributes and characteristics with one gender.

Since the Antiquity with the Patriarchy, mens constructed a difference between the gender roles, with the time, the masculine hegemony created stereotypes like "girls like pink and boys the blue". After, that was reinforced by society with the link between masculinity and the military

That’s why now our challenge as the future sports managers is…challenge gender norms!

Victor PIERRE B2 AMOS PARIS

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hardtostudy · 7 years

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lit4

Theory - Is interdisciplinary discourse (debate) with effects outside an original discipline - Is an analytical and speculative - Is a critique of common sense, of concepts taken as natural

Literature - Elusive term (always changing) - Modern sense of literature is 200 years old - Prior to 1800 literature was “memorized”, not interpreted - In fiction, the relation of what speakers say to what authors think is always a matter of interpretation 1. A body of writings in prose or verse 2. Imaginative or creative writing, especially of recognized artistic value 3. The art of occupation of literary writer 4. The body of written work produced by scholars or researchers

Literariness of non-literary phenomena Qualities often thought to be literary turn out to be crucial to non-literary discourse and practise as well (history or historical narrative, everyday language???

Literature = Imaginative writing - The term literature seems best if we limit it to the art of literature, that is to imaginative literature - Non-imaginative writing employs logical abstraction Imaginative writing employs artistic images

Criteria for literature - Content - Considering aesthetic principles and semantic characteristics of language

Literature as the foregrounding of language - Literature is a speech act or textual event that elicits certain kinds of attention (rhyme, onomatopoeia sound, words we don’t use in normal conversation, …)

Functions: Mimetic Aesthetic Didactic Entertaining Social Ideological

Genre - Usually refers to one of the three classical literature forms of -- Fiction/prose/prose fiction/epic -- Poetry -- Drama

Text type Refers to highly conventional written document such as instruction manuals, sermons, obituaries, advertising text, catalogues and scientific or scholarly writing, …

Discourse - Usually learned discussion, spoken or written, on a philosophical, political, literary or religious topic. It´s closely related to a treatise and a dissertation - Is the broadest term, referring to a variety of written and oral manifestations which share common thematic or structural features. The boundaries of these terms are not fixed and vary depending on???

Literary scholarship DEVELOPMENT = literary history follows the historical development of literature from the earliest times to present INTERPRETATION = literary criticism analyses the content and form of creative literature, making use of the knowledge of literary theory and history. It addresses both, readers and writers. It employs aesthetic and formal criteria in the evaluation of literary works METHODS = literary theory studies the forms, categories, criteria, techniques, literary types, genre, language, composition, style and other relevant???

4 Major approaches to text TEXT – philology, rhetoric, formalism and structuralism, new criticism, semiotics and deconstruction AUTHOR – biographical criticism, psychoanalytic criticism, phenomenology READER – reception theory, reception history, reader-response criticism CONTEXT – literary history, Marxist literary theory, feminist literary history, new historicism and cultural studies

Literary canon - Term originally used for holy texts. Now it refers to the entirety of those literary texts which are considered to be the most important in literary history

Intertextuality - Literary text is not an isolated phenomenon, but is made up of a mosaic of quotations and that any text is the absorption and transformation of another

Connotation - The suggesting of a meaning by a word apart from the thing it explicitly names or describes (implied, associated meaning) Denotation - A direct specific meaning as distinct from an implied or associated idea

Style - Refers to the language conventions used to construct the story - A fiction writer can manipulate diction (choice of words), sentence structure, phrasing, and other aspects of language to create style - Might be formal, informal, minimalistic, richly detailed, descriptive, … - The communicative effect create by the author´s style can be referred as the story´s voice

Tone Refers to the attitude that the story creates toward its subject matter (dramatic, humorous, imperative…)

Image - Is a sensory impression used to create meaning in a story VISUAL IMAGERY = imagery of sight AURAL IMAGERY = imagery of sound OLFACTORY IMAGERY = imagery of smell TACTILE IMAGERY = imagery of touch GUSTATODY IMAGERY = imagery of taste

Symbolism - If an image in a story is used repeatedly and begins to carry multiple layers of meaning - Symbol indicates rather than explicates, it is indirect suggestion - Symbol is a term for “objects” in a literary text which transcend their material meaning - Symbol is one of the most characteristic means of artistic expression and is material for the construction of a myth. Symbol can be universal or culturally based - Symbol is a word (or a group of words) which stands for a meaning other than the literal or purely denotative - From Greek SYMBALLEIN = “to compare by throwing together” - Generally understood symbols are conventional/arbitrary/traditional

Allegory - A story, play or poem in which events and characters are used as symbols in order to express a moral, religious or political idea - Is a work of fiction in which the symbols, characters, and events come to represent, in a somewhat point-by-point fashion, a different metaphysical, political, or social situation - From Greek ALLÉGOREIN = “to talk differently, in images”

Fiction - Term to differentiate the literary prose genres of short story, novella, and novel from drama and poetry - In older secondary sources it is often used synonymously with “epic”

Fiction genres (development) EPIC – 7th century BC (Homer: Iliad, Odyssey) ROMANCE – 14th century (Sir Gawain and the Green knight) NOVEL – 17th century (Don Quixote) 18th century (Robinson Crusoe)

Novel Picaresque, bildungsroman, epistolary, historical, satirical, utopian, gothic, detective, …

Intermediate fiction Fablian (predecessor or a short story) Narrative in verse --Often comic --Implies criticism of the manners and morals --Based on folklore

Short story Simple plot, short time span, setting and numbers of characters are limited

Intermediate fiction Exemplum (moral anecdote) Idyll (epic poem with a pastoral theme – about nature) Legend (medieval epic genre with religious theme, in verse or prose, contains motifs of fantasy and miracle)

Minor fiction - Fable (short story typically with animals as characters, with moral lesson) - Parable (a simple story with a moral or religious purpose, especially one told by Jesus Christ) - Bestiary (compendium of animals) - Fairy tale (set in imaginary world, supernatural elements, fictional nature, stereotyped characters, with moral lesson) - Anecdote (short narrative depicting a real or imaginary event, humorous, witty, brief narration)

Between fiction and f ESSAY Emphasis on the individuality Subjective tone Highly individualized statements Primary concern is to report a fact however it employs devices of fiction, poetry or drama

PLOT = linear storytelling Exposition (introduction to the story, background of the story) Rising action/Complication Climax/Turning point Falling action Resolution/Denouement

Narrative voice/Point of view - 1st person point of view Singular (I) Plural (We) - 3rd person point of view Omniscient (present everywhere) Limited (without access to everywhere)

Plot - Is the logical interaction of the various thematic element of a text which lead to a change of the original situation as presented at the outset of the narrative - Logical combination of different elements of the action in a literary text - LINEAR – plot follows a chronological order of the events - UNLINEAR – plot follows a non-chronological order of events (drama of the absurd, experimental novel, modernist literature generally) - FLASHBACK – device in the structuring of plot which introduces events from the past in an otherwise linear narrative - FORESHADOWING - device in the structuring of plot which bring information from the future into the current action

Modest of presentation - Concerns the presentation of characters and events in a literary work - Explanatory characterization based on narrative (telling) - Dramatic characterization based on monologue or dialogue (showing) Characters - Figure presented in a literary text, including main or protagonist/antagonist and minor characters - Flat characters show only one dominant feature - Round characters are more complex, well-developed - Stock characters are recurring characters

Point of view (Narrative voice/Perspective) - the way in which characters, events and setting in a text are presented --- 1st person point of view --- OMNISCIENT – point of view describes the action from omniscient, god-like perspective by referring to the protagonist in the 3rd person ---- FIGURAL NARRATIVE SITUATION – point of view in which narrator moves into the background suggesting that the plot is revealed solely through the action of the characters

Stream of consciousness and interior monologue C. – is a narrative technique which is used to present the subconscious association of a fictitious person I.M. – is a narrative technique in which a figure is exclusively characterized by his/her thoughts without any other comments

Setting - Dimension of literary texts including the time and place of the action. It´s usually carefully chosen by the author in order to support directly plot, characters and point of view - Denotes the location, historical period, and social surroundings in which the action of a text develops

Periods of English literature Old English (Anglo-Saxon period) – 5th -11th century Middle English period – 12th – 15th century Renaissance – 16th – 17th century Neoclassical, Golden or Augustan age – 18th century Romantic period – 1st half of the 19th century Victorian age -2nd half of the 19th century Modernism – WWI - WWII Postmodernism – 1960´s -1970´s

Periods of English literature Colonial or Puritan age – 17th – 18th century Romantic period and transcendentalism – 1st half of the 19th century Realism and naturalism -2nd half of the 19th century Modernism – WWI - WWII Postmodernism – 1960´s -1970´s

Specification of poetry The oldest genre in literary history Origins in music (lyre/harp) From Greek Poieo (to make, to produce) Traditional attempts to define poetry juxtapose poetry with prose (limited) Verse, rhyme, meter Modern poetry / experimental poetry / free poetry / prose poems

Major categories Narrative poetry Lyric poetry

Poetic language Lexical-thematic dimension = DICTION, RHETORICAL FIGURES, THEME Visual dimension = FORM, STANZAS Rhythmic-acoustic dimension = RHYME, METER, ONOMATOPEIA

Traditional classification LYRIC POETRY - Plotlessness, subjectivity, reflexive, meditative - Ode (a song) - Ballad (a tragedy narrated in form of song) - Elegy (a funeral song) - Epitaph (life of a dead person) - Pastoral poem (bucolics) - Psalm - Romance (similar to ballad, love story)

EPIC POETRY - Composition of story in verse - Epic (long narrative poem) - Chronicle (historical event in verse) - Historical song - Ballad (both lyric and epic)

Meter - Is the rhythm established by a poem, and it´s usually dependent not only on the number of syllables in a line, but also on the way those syllables are accented - This rhythm is often described as a pattern of stressed and unstressed syllables - The rhythmic unit is often describe as a foot; patterns of feet can be identified and labelled - A foot may be iambic, which follows a pattern of unstressed-stressed syllables - Stressed syllables are conventionally labelled with a “/“ mark Unstressed syllables are conventionally labelled with a “U“mark - 5 iambs or feet are called iambic pentameter

Basic feet (x stands for “/”) UX iamb (iambic) XU trochee (trochaic) XX spondee (spondaic) UU pyrrhic UUX anapaest (anapaestic) XUU dactyl (dactylic)

Line-Lengths Monometer (1 foot per line) Dimeter (2 feet per line) Trimeter (3 feet per line) Tetrameter (4 feet per line) Pentameter (5 feet per line) Hexameter (6 feet per line) Heptameter (7 feet per line) Octameter (8 feet per line)

Rhyme - The basic definition of rhyme is two words that sound alike - The most recognizable convention of poetry - Helps to unify a poem; it also repeats a sound that links one concept to another, thus helping to determine the structure of a poem - When 2 subsequent lines rhyme it is likely that they are thematically linked, or that the next set of rhymed lines signifies a slight departure - Rhyme works closely with meter in this regard - Especially in modern poetry, for which conventions aren’t as rigidly determined as they were during the English Renaissance or in the 18th century, rhyme can indicate a poetic theme or the willingness to structure a subject that seems otherwise chaotic

Varieties of rhyme INTERNAL RHYME – functions within a line of poetry (like assonance or alliteration) END RHYME – occurs at the end of the line and at the end of some other line, usually within the same stanza if not in subsequent lines EYE RHYME

Rhyme how rigid it is how closely it conforms to a predetermined rhyme scheme what function it serves

Basic elements of poetry What is the subject of the poem, what is it apparently about? What is the poem´s THEME, what is it about at a deeper level, important ideas? What mood do you think the poet was in when he wrote it? How is the poem STRUCTURED? Look at the examples of IMAGERY Is there anything else that strikes you about the poem? METAPHOR Rhetorical figure which “equates” one thing with another without actually “comparing” the two It is an implied comparison of 2 things

ALLITERATION Words starting with the same sound

ASSONANCE Repeated vowel sound

ONOMATOPEIA Words that sound like what they mean

SYNECDOCHE (substitution) is the rhetorical or metaphorical substitution of a part for whole, or vice versa

METONYMY (association) the rhetorical or metaphorical substitution of a one thing for another based on their association or proximity

OXYMORON The juxtaposition of 2 contradictory ideas us oxymoron in order to create striking effects

PERSONIFICATION When something other than human being (often an abstract quality) is treated as a human being It is said to be personified A type of metaphor, comparing something to human being

SIMILI / SIMILE An explicit comparison of 2 things, usually with the word “like”, “than” or “as” Rhetorical figure which “compares” 2 different things by connecting them with like, than or as

BLANK VERSE Is the technical name for unrhymed iambic pentameter, i.e., verse of 5 feet per line, with the stress on the 2nd beat of each foot One of the most common in English

FREE VERSE Most common in the 20th century, but by no means unique to it = has no fixed metrical foot, and often no fixed number of feet per verse. It is sometimes called by its French name Verse libre

ENJAMBMENT When the units of sense in a passage of poetry don’t coincide with verses, and the sense runs on from the verse to another The lines are said to be enjambed

SONNET A lyric poem of 14 lines. There are 2 common species of sonnet distinguished by their rhyme scheme: - The Italian (Petrarchan) = sonnet can be broken into 2 parts, the octave (8 lines) and the sestet (6 lines) - The Shakespearean (English) = sonnet consists of 3 quatrains and 1 couplet

IRONY - VERBAL IRONY (sometimes called rhetorical irony), probably the most straightforward kind of irony, the speaker says something different from what he/she really believes - In its crudes form it´s called SARCASM, where the speaker intentionally says the opposite of what he/she really believes - UNDERSTATEMENT – figure of speech employed by writers/speakers to intentionally make a situation seem less important than it really is - HYPERBOLE (exaggeration) - EUPHEMISM is used to express a mild, indirect, or vague term to substitute for a harsh, blunt, or offensive term

SATIRE - Is the ridicule of some vice or imperfection - an attack on someone or something by making it look ridiculous or worthy of scorn

PARODY (not to be confused with satire) is the imitation of either formal or thematic elements of one work in another for humorous purposes

Critical approaches Reveal HOW and WHY a particular work is constructed and what its social and cultural implications are To see and appreciate a literary work as a multi-layered construct of meaning Reread, rethink and respond Recent theory can be seen as an attempt to sort out the paradoxes that often inform the treatment of identity in literature

Meaning of theory Theory offers not a set of solutions but the prospect of further thought Theory is a DISCURSIVE practise Linked with education and institutions

Russian formalism Focus on FORM and TECHNIQUE The Russian Formalists of the early years of the 20th century stressed the critics should concerns themselves with the literariness of literature: the verbal strategies that make it literary

New Criticism 30s, 40s in the United States The unity or integration of literary works Shift from understanding literature as a historical document towards aesthetic perception (from memorizing to interpretation) How each element in literature contributes to meaning

Feminist Literary Theory Simone de Beauvior, Second sex (1949) Emerged in the 70s Identity of woman Position of women in the society Opposition between man and woman Discussion of the patriarchal perception of history/literature

Psychoanalytic Literary Criticism Based on Freud´s psychoanalysis Explores the nature of the unconscious mind Analysis literary work through symbolism, myth, taboo, association, sexual relations Looks at the unconscious meaning of work

Marxist Literary Theory Based on German philosopher Karl Marx The role of class, ideology, social order Literature as a means of manipulation Literary works are seen as products of work (reflection of economy) New perception of the canon (middle class?)

Postcolonial Criticism Based on Edward Said´s work Orientalism (1978) Involves the analysis of literary texts produces in countries and cultures that have come under the control of European colonial powers at some point in their history Reevalution of the stereotypes, myths associated with marginalized groups

Reader-Response Criticism The reader is active “reading is … something you do” The intended reader vs. implied reader For the reader, the work is what is given to consciousness; the work is not something objective, existing independently of any experience of it, but is the experience of the reader Form of a description of the reader´s progressive movement through a text, analysing how readers produce meaning by making connections  DRAMA - Draó (Greek) – to act, to perform - Drama as a genre: all works written for the theatre - A single play - A serious play - Any event charged with conflict and tension - A drama or play is a form of storytelling in which actors make the characters come alive through speech (dialogue) and action (stage directions)

DRAMA COMBINES ASPECTS OF ALL 3 LITERARY GENRES - Fictional or factual - Common literary elements like plot, setting, characterization, and dialog - FICTION - POETRY Many plays are written in verse (for example Othello or Oeidipus Rex) - DRAMA Its unique characteristic is that it is written to be performed

PLAY IS TO BE PERFORMED IN FRONT OF THE AUDIENCE Playwright Script Dialogue Staging: stage directions (Acts, Scenes, Set, Props)

GREEK THEATRE Ancient Greek theatre developed as part of the religious festivals A “choric hymn” called the dithyramb was composed in honour of Dionysus, the god of wine and fertility The hymn was sung by a chorus of 50 men

THESPIS Added the first actor to interact with the dithyramb chorus Called the actor the “protagonist” Is said to have performed in Athens in 534 B.C. The term “thespian” (having to do with drama or theatre) comes from his name When the Dionysian festivals changed to drama competitions, Thespis was the first winner

ARISTOTLE´S RULES FOR ANCIENT DRAMA Classical unities Unity of time (action must occur within 24 hours) Unity of place (action takes place in one location) Unity of action (single plot) Catharsis Socially acceptable purging of emotions such as anger, fear, or grief

DRAMATIC STRUCTURE Plot: exposition, rising action, climax, falling action, denouement Character: Dialogue: conversations of characters onstage Monologue: long speech given by one character to others Soliloquy: speech by a character alone onstage to himself/herself or to the audience Asides: remarks made to the audience or to one character, the other characters onstage do not hear on aside Setting (realistic and detailed?) or (abstract and minimal?)

COMEDY Comedy of manners Satiric comedy (employs hyperbole and burlesque) Romantic comedy Picaresque comedy Comedy of situation (situational humour and comicality) Masque (allegoric play based on mythology)

DRAMA Serious but not necessarily tragic Genre between tragedy and comedy Lyric drama (reflexive mood, widely employed metaphors, psychological motivation) Realistic drama (serious moral and social issues) Drama of the absurd (anxiety, breaks the established requirements imposed on play, violates principles of communication disturbs the unified model of the world) Melodrama (sentimental, pathetic, emotional) Monodrama (one character play) Burlesque (high mixed with low) Farce (exaggeration and caricature of situation) Grotesque (hyperbolization of reality, fantastic elements are used, presence of disharmony) Variety show (purely in order to amuse) Cabaret (satirical performance accompanied by music) Vaudeville (theatrical genre of variety entertainment)

MUSICAL GENRES Opera Operetta Musical

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