Introduction to Literary Studies

Heterodiegetic, covert. 

The narrator is outside the world of the characters; the narrator is just a voice rather than a character we can easily imagine. 

MLA / Modern Language Association international bibliography 

EEBO can be accessed via the Nationallizenzen website. 

William Shakespeare, The Tempest 

ODNB / Oxford Dictionary of National Biography 

ECCO can be accessed via the Nationallizenzen website. 

Jonathan Swift, Travels into several remote nations of the world / Gulliver's Travels. 

The 18th century / 1701 - 1800. 

Scans of texts printed in Britain. 

The term “dactyl” derives from the Greek word for “finger”, and gave its name to this metre because the length of finger bones correspond to the dactyl’s metric units: long-short- short. 

• 2 points for knowing what a dactyl is, using the notation from the lecture (-UU);
• 2 points for five of these, → -UU -UU -UU -UU -UU;
• same for trochaic hexameter (-U) → -U -U -U -U -U -U;  

The iambic tetrameter is more common because English has many 1-2 syllable words / many English words are stressed on the second syllable. 

• 2 points for knowing what an anapaest is, using the notation from the lecture (U--);
• 2 points for six of these, → UU- UU- UU- UU- UU- UU-;
• same for iambic tetrameter (U-) → U- U- U- U-  

Because it can be easily detected and the penalties are very severe. 

No, this kind of collaborative work is not allowed either.  

It would not be better, since I would use an unauthorised source.

It would be plagiarism because I would present the work/thoughts of others as my own. 

It is a form of theft. 

• 2 points for knowing it is not a sonnet because we would expect the metre to be an iambic pentameter /we would find 14 lines in a sonnet /we would find a structure made up of quatrains and tercets.
• 0 points for arguing that sonnets tend to be love poems, as this is not a structural characteristic.
• 2 points for knowing that epic poems are very long poems – and this one is very short indeed.
• 0 points for describing what epic poems are about, because this is about structural characteristics.   

• 2 points for knowing that poems can make sense on two levels (the semantic level or level of meaning & the level of sounds/rhythms.
• Or: nonsense words perform a useful function in poetry through the way they sound or by establishing or maintaining a rhythm.
• Or: reference to the musical dimension of poetry Or: reference to the poetic punction of language.
• Otherwise 0 points. 

• 2 points for: this is when a line is not a unit of meaning, when we have to go on reading into the next line to make sense of it. (Or similar definitions)
• 1 point for each example, e.g. one of the three very obvious enjambements here in the transitions from lines 1 to 2, 3 to 4 and 5 to 6 (it is not enough to pick any bit of the poem at random).

• 2 points for pointing out how this text is structured through repetitions, e.g.:
  • “The” at the beginning of three lines /
  • or the repetition of the whole line “The more it” /
  • or the words that are set entirely in capitals at the beginning of lines 2, 4 and 6 /
  • or the triple enjambement... 

.

1 point each for every completely correct line, otherwise 0 for that line. 

• a) EEBO
  • 1 point for no,
  • 1 point for: it contains books from the introduction of printing (or: the late 15th century) to the year 1700.
  • 1 point for EEBO = Early English Books Online (zero points for any variation thereof!)
  • = 3 points total.
• b) ECCO
  • 1 point for no,
  • 1 point for: it contains books printed in the eighteenth century (or: 1701-1800; 1700-1800 is also acceptable).
  • 1 point for ECCO = Eighteenth-Century Collections Online (zero points for any variation thereof!)
  • = 3 points total. 
• c) JSTOR
  • 1 point for no,
  • 1 point for: because it contains secondary literature, or: research literature, or: books and articles about literary texts, not the texts themselves
  • = 2 points total.
• d) the OED
  • 1 point for no,
  • 1 point for knowing it is a dictionary.
  • = 2 points total. 

Various ways of phrasing this:

• 1 point for answers such as:
  • representing a female character by a male actor or a male character by a female actor / or by non-binary or trans actors.
  • 1 point for knowing that this is about raising awareness of gender roles / making us think about gender roles. 

1 point each for answers such as:

• the absence of a roof,
• the shape of the stage (apron stage),
• the circular shape of the building,
• the fact that there was standing room around the stage... 

Various ways of phrasing this: e.g.:  

• 2 points for pointing out that Shakespeare’s plays have usually survived in more than one version, and that a critical edition is required because it tries to present a good reconstruction of the text.
• Or: 2 points for pointing out that a critical edition gives us annotations that help us to understand words that are no longer in use, as well as all sorts of cultural contexts of the time. 

• 1 point for Q = Quarto;
• 1 point for F = Folio;
• 0 points for variations. 

• 1 point for “Waiting for Godot”;
• 1 point for “The Tempest”;
• 0 points for variations. 

• 2 points for “who is talking to whom?” (Or a question about narrative transmission).
• 2 points for “where are we?” (Or: what is the setting in terms of place and time?)
• 2 points for “who is there?” (Or: what characters do we encounter?)
• 2 points for “what is happening? (Or: referring to story/plot).
• 2 points for “special effects?” (Or: in which ways is the language in the text structured?) 

Poetry: Linton Kwesi Johnson, „Inglan is a Bitch“ (1980); Drama: William Shakespeare, The Tempest (1623); Prose/Narrative: Bram Stoker, Dracula (1897). Stuff you learn from poetry could also be used for drama as well as narrative/prose and narrative prose and play can use language that is poetic.  

• In older forms of English we discussed “Beowulf” and “The Ruin” both from anonymous authors. From the 20th century we discussed “Ingland is a Bitch” by Linton Kwesi Johnson. Many authors choose to write in non-standard English like Johnson because they want to make a social or political statement. Johnson wants to explains his journey of living in England and making his way there by emphasising through language that it was not easy, especially he does not come from England and is an immigrant.]
• [Beowulf by an unknown author and A Description of Tyme by Alexander Montgomerie are examples of works which were written in older forms of English and which we discussed in the lecture. An example of a text from the 20th century that is not written in contemporary standard British English would be “Inglan is a Bitch” by Linton Kwesi Johnson. Choosingnot to write in standard English could be because you want to show your version of it as Linton Johnson did, he wrote the way he spoke, which is Caribbean English to voice political protest.]
• “Beowulf” for example is written in old English, the author is unknown. “Caedmons Hymn” is also written in Old English the author is Caedmon. “A Description of Tyme” from Alexander Montgomerie is written in a Scottish variety. An example for today would be “Ingland is a Bitch” by Linton Kwesi Johnson, he chose the write it in his own form because he was an immigrant and did not feel welcomed in England, so he wanted to use his own Caribbean language. By using his own variety, he made the text political, he wanted to make a statement.]

• Why must I miss her at this time today?

My sonnet line does not address the woman directly, it contains 10 syllables and is written in an iambic pentameter. There is no difference between the first line of a Petrarchan sonnet and the first line of an Elizabethan sonnet.