Search Results

You are looking at 71 - 80 of 96 items :

  • "Literary Analysis" x
Clear All

studies is not necessarily confined to using one specific model of literary analysis. Much rather, American studies as a whole is by nature trans- and interdisciplinary, and accordingly re-models dif ferent theoretical strands as befits its needs. Genette’s terminology is no exception. It is not used consistently in Anglo-American literary criticism, but is followed here for the implicit spatial features that it comprises. Toward Diversity and Emancipation124 Zero focalizers achieve the biggest scope in terms of the narrative construction of space because there is

Menninghaus’ study on the aesthetics of disgust, where he devotes a whole chapter to Kristeva’s concept of the abject (365-402), it does not become a constitutive part of a general approach. Menninghaus’ chapter on abjection follows only after his literary analysis of the aesthetic manifestations of disgust in authors such as Sartre and Kafka, and thus finds no concrete application. V. Theorising Disgust for Drama Analysis 99 entail (cf. 37). She claims that while abjection involves a specific fear regarding the loss of self-hood, the “self remains intact” in experiences of

: Eisenbrauns, pp. 491–499. Shaheen, N. (1977): “The Siloam End of Hezekiah’s Tunnel.” In: Palestine Explora- tion Quarterly 109, pp. 107–112. Shea, W. (1988): “Commemorating the Final Breakthrough of the Siloam Tunnel.” In: Y. L. Arbeitman (ed.), On Focus. A Semitic/African Gathering in Remem- brance of Albert Ehrman, Amsterdam; Philadelphia: John Benjamins, pp. 431– 442. Smelik, K. (2011): “A Literary Analysis of the Shiloah (Siloam) Tunnel Inscription.” In: G. I. Davis, J. K. Aitken, K. J. Dell, and B. A. Mastin (eds.), On Stone and Scroll: Essays in Honour of Graham

’ for matters of concern allow our own interpretations, and thus make Latour’s presence attractive in a literary analysis. Latour’s apparent abandonment of theoretical foundation here affords him the freedom of what David Alworth has so aptly called Latour’s “discursive heterogeneity”.83 This is marked not only by the intersection of the many disciplines in his scholarship, but also by the literary tropes he uses to explain his theoretical reflections.84 For our analysis, we can fill in these gaps in his scholarship with the individual strategies that my

into one carefully thought-out, concrete whole. Time, as it were, thickens, takes on flesh, becomes ar tistically visible; likewise, space becomes charged and responsive to the movements of time, plot and history. This “intersection . . . and fusion” of indicators characterizes the ar tistic chronotope. (84) It is this “intrinsic connectedness,” as well as the “intersection” and “fusion” of time and space emphasized by Bakhtin which turn the chronotope into a useful conceptual tool for a culturally informed literary analysis. The time- space arrangements that

cultural construc- tions of space and reveals this constructive moment. (5) While these definitions can be a helpful orientation within literary analysis, the London novel is not entirely limited to the ‘genre’ of the city novel as defined above (cf. Klotz 1987: 10; Hertel 1997: 19). Strictly following such categories of differentiating ‘London writing’ from a ‘writing about London’ would lead to a neglect of urban fictions which are considered London novels by ‘convention’ (cf. Coverley 2005; Pleßke 2006: 56-60). This includes, for example, nineteenth-century city

provide a basic outline of the major strands of the western literary tradition by the reading of major works from the most important European national literatures from classical antiquity to our time, and to give an introduction to selected major topics in literary theory, such as genre theory, the theory of interpretation, historical poetics, and major modern schools of criticism and methods of literary analysis.”648 Since familiarity with the European literary canon cannot be presumed beyond the Norwegian classics taught in secondary school, it has to be

popular concept potentially applicable to interactive media in a modified form is the chronotope, originally developed by Michail Bak- htin for literary analysis. Geoffrey Rockwell tentatively proposed the idea for game studies in 1999 in a preprint version of his 2002 article.42 According to Rockwell, Bakhtin’s thinking about the novel originat- ing from Socratic dialogue can be extrapolated to describe a »poetics« of CVGs43, e.g. using the idea of the chronotope. By ›chronotope‹, Bakhtin refers to the »intrinsic connectedness of temporal and spatial relation

“the essential feature of poetry.”7 Consequently, it is not surprising that this feature of poetry was once considered by John Donne to be a “counterfait Creation” that “makes things that are not, as though they were” and deemed indispensable, though “impotent,” when it “be put to expresse . . . Eternity.”8 This transcendental potential has been much more elaborately recognized in recent theories of metaphor, on which I will base most of my literary analysis in the following. Drawing from Aristotle’s Poetics, David Punter infers that through the use of

established if literary analysis took language rather than authors as the starting-point of its enquiry” (Death 19). “The Death of the Author,” then, formed a first “theoretical outline” of Barthes’s project to replace the authorial perspective “by that of the reader as producer of the text” in his subsequent publication S/Z (1970), as Burke further explained: Commentators of Barthes’s career are united in seeing a decisive change in direction as occurring in the late 1960s, and are all but united in seeing that change as occurring decisively in S/Z. This text also