TA

• Paradigm: Set of relationship between signifier and signified

  • Signifier: word itself and its sound

  • Signified: concept of a word

  • Homonym -> level of signifier

  • Synonym -> level of signified

  • Level of metaphor

• Syntagm: position of a sign along a chain of signs

  • syntagmatic relationship: value of single sign made possible by signs that surround it

  • determines relationship of signs with eachother -> horizontal relation, Metonomy

• Verbal irony: one thing said, antoher meant

• Structural irony: reader and author know something that character/hero does not

• Romantic irony: narrator builds up illusion of representing reality only to shatter it -> author/artist ist arbitrary creator -> breaking fourth wall

• Tragic irony -> fate that could’ve never been averted

• Dramatic irony: circumstance which lies in past, present or future, which character is not aware of

  -> irony requires complicity between author and reader

  • common cultural norms

  • shared moral values

• Monologue: lengthy speech by single person

• soliloquiy: monologue in a play where character expresses private thoughts, alone on stage

• story: narrated events in chronological order

• Text: spoken or written discours, not necessarily chronological

• narration: act or process of production

• Kernels: advance action by opening new alternative

• Catalysts: expand, amplify, mantain, delay action

• durration: how long

• order: when

• frequency: how often

• Ellipsis: central event in story remains untold

• acceleration: Event which takes longer time in story is only mentioned briefly in text/narrative (neagtive emphasis)

• decelleration: positive emphasis

• Scene: almost perfect correlation narrated time and time of narration

• Pause: insignificant event takes forever in narrative -> banality, boredom etc.

• diagesis

  • Dialogue, anything within that world, duaration of events on level of story

• extradiagesis

  • Time of narration (when its told by narrator, comments by narrator)

• Direction

  • Prolepsis (anticipation)

  • Analepsis (flashback)

• Distance

  • internal

  • external

  • mixed

• Reach

  • Punctual: single event

  • Durative: period of time

  • Homodiegetic: narrator part of story

  • Heterodiagetic: narrator outside story

  • Hypodiagetic: story within story (mis en abyme) -> each narrative subordinate to narrative within which it is embedded

• Singulative: something that happens once is told once

• Repetitive: Telling x times what happened once

• iterative: Telling once what happened many times

• Ulterior: retrospectiv, after the events

• Anterior: prophecies

• Simultaneous

• Intercalated: telling and acting follow each other in alteration

• actional: maintain or advance first level of diagesis

• explicative: explains diagetic circumstance

• Thematic: analogy, points to similiarity or contrast

• Mise an abyme -> self-reflection with the structure of literary work

• extradiagetic narrator: above the story, narrating diagesis

• Intradiagetic narrator: part of diagesis, narrating hypodiagesis

• Hypodiagetic narrator: part of hypodiagesis, narrating hypo-hypo-diagesis

• Personal involvement

• limited knowledge

• Problematic value scheme

• From within: focus on emotions, inner life

• Form without: focus on action

• Variable (instability) vs. fixed

• External/narrator-focalizer

  • Panachronic (unpersonifed, encompassing all time periods), retrospective

  • Unrestrictive knowledge

  • Objective (neutral, uninvolved)

  • Single, dominant perspective

• internal/character focalized

  • Synchronic (limited to present of characters)

  • Restrictive knowledge

  • Subjective (colored by emotions)

  • Limited observer

  • ideology of character

• habitual -> static

• Singular (behaviour) -> dynamic, turning point

• Acts of commission -> performed

• acts of omission -> intentionally not performed

• Contemplated acts -> unrealized untention

• Delay: not implanting information where its due in text

• Gaps:

  • temporary or permantent

  • Prospective/retrospective: reader aware of gap and tries to fill it -> reader only realizes later gap needs to be closed

• Metaphors as intersection between the visual and the narrative

Lotmar Yuri, Semiotic space

• Semiotic: study of signs and symbols

• Play central role in communicating and meaning making

• Cultural systems composed of various levels of semiotic space

• Semiotic space: environment in which signs and cultural meanings are produced

• Physical + conceptual dimensions (language, art, rituals as forms of human expression)

• Dynamic and constantly evolving, shaped by interactions between humans and cultural surroundings

• Boundaries:

  • create a sense of order, defining and separating different cultural systems

  • Allow exchange of meaning across cultural borders

• Influence formation of cultural identities

• Outside semiosphere neither language nor communication

Semiotic memory: accumulation and preservation of cultural information over time

• Myths, language, traditions

• Binarism: meaning is organized and structured in terms of binary opposition of contrasting elements -> meaning by difference

• Asymmetry: unequal distribution/imbalance of meanings withing semiotic system -> certain elements or signs carry more significance or power than other

  • symmetry often shaped by cultural norms, social hierarchies etc.

  • Some meanings/symbols privileged and dominant, others marginalized or subordinate

• Hierarchy of meaning constantly changing

  • Hierarchy in space?

• Subjectivity defined against the other

• Metonomy -> displacement (representation of severla people in single image)

• Metaphor = condensation (substituting one person with another in dream)

• When a child passes mirror stage it enters the symbolic (language system) and begins to communicate with others

  • Process marked by lack, separation, prohibition and restrain

• Develops in the direction of ambivalence until it finally coincides with its opposite (unheimlich)

• Something which is familiar and old established in the mind and which has become alienated from it only through the process of repression

• Interesting: characters (of a literary work) are person-like?

• Innermost thoughts and desires are never completely hidden, can be made visible by others through communication and social interaction

• When inner coincides with the exterior it becomes threatening, provoking horror and

  anxiety

• The double: appears in every shape and every degree of development

• Verbal Stage: similar to conventional forms of reading

  • Looking for paradoxes and contradictions

  • Reversing orders

• Textual stage: takes look at overall text, breaks in time, space, form, tone, vocabulary

• Linguistic stage: language calling self into question -> saying something is unsayable etc.

• Diegesis: poet himself speaker, does not even attempt to sugges that anyone but himself is speaking

  • Indirect speech

  • Abstracted succession of events/abstraction

• Mimesis: poet tries to create illusion that it is not he who speaks

  • Dialogue, monologue, direct speech

  • Capacity of literature to represent/imitate reality

• Free indirect discourse (showing and telling) (equally mimetic and diegetic)

  • Brings into play plurality of speakers and attitudes

  • Can assist reader in reconstructing the implied authors attitude toward the characters involved (ironic/empathetic)

• Co existence of various voices creates intra-textual polyphony (style of simultaneously combining a number of parts each foring individual harmony as well as harmonizing with each other withing THE/ONE text)

• The preservation of the linguistic register of the speaker creates inter-textual polyphony (harmony among many texts)

• Intertext: quotation of other text within text

• Paratext: everything but the proper text

• Metatext: commentary/criticism about text

• Hypertext:: text deriving from other text (hypotext), not commetary

• Achitext/transtext: literariness, larger textual context/history from which text emerges

• Limitation of mimesis hightens artificiality and functionality of characters as well as setting

• Drama as a synaesthetic text (supersign) (verbal, linguistic and acoustic codes)

• Explicit figural characterization: actuality and facticity of speech

• Implicit figural characterization: language used, performativity, costume

• Implicit authorial characterization: juxtaposition of characters within space

• Over the body of dramatic characters cultural values, morals and argument and socio-political norms are negotiated

• Real spaces, opposite of utopias and dystopias (unreal spaces)

• Spaces/places that exist in society but operate outside of the usual norms and functions

• Have own rules, meanings, and functions

• Examples: gardens, cemeteries, museums, libraries, brothels, ships

• Multiple purposes

  • Challenging societal norms

  • Spaces for crisis and deviation

  • Otherness utopias

• Dual nature

  • Mirror dominant societal order

    • Reflects and embodies its values, norms, power structures

    • Contain objects that are recognizable or familiar to society

    • BUT reflection is nor a replication -> rearranges those orders

    • Creation of space both familiar and strange

• Contest dominant societal order

  • Spaces of resistance, critique, imagination

  • Alternative temporalities: places of memory like museums, utopian spaces of alternative futures

• Heterochronie, i.e. the cemetery as a time of remembrance instead

  of living in the present

• Heterotopias are capable of juxtaposing in a single place several spaces (that are inthemselves incompatible) i.e. film, theatre

• Heterotopias and heterochronies -> often linked to spaces in time

  • Not always accessible

  • Heterochronic

  • Used for specific events

• Always presuppose a system of opening and closing that both isolates them and makes them penetrable

• create conflict

• Lyric poetry: short poem in voice of single speaker

• Epic poetry: long narrative poem, heroic topics, supernatural forces

• Dramatic poetry = poetic monologies or dialogues performed by a character

• Masculines rhyme: single stressed syllable -tree, -free

• Féminines rhyme : stresses syllable followed by unstressed syllable (-twenty, -plenty)

• Perfect rhyme: syllablels and sound match harmoniously – tree – free

• Iperfect rhyme: employ assonance and consonance but with absence of harmony (loads, lids, lads)

• Eye-rhyme

• Apostrophe: speech directed to an object or being which cannot respond

• Synecdoche: a part of something used for everything (eyes for humans) (shift of meaning)

• Metonymy: something associated with something is used for everything (“White House” for the president) (shift of meaning)

• Transfer or meaning

  • Allegory

  • Metaphor

  • Simile

  • Symbol

  • Motiv -> repeated symbol

• omission if part of a word or sentece

• pathetic fallacy

epizeuxis

Anaphora

Chiasmus

Sibilance