Apunts de literatura del segle XIX. Contingut: teoria per a preparar les preguntes., Exámenes de Idioma Inglés

¡Descarga Apunts de literatura del segle XIX. Contingut: teoria per a preparar les preguntes. y más Exámenes en PDF de Idioma Inglés solo en Docsity! NOVEL Romanticism (until 1840) Issues: Emotion, individualism (hero/heroine who needs to stay alone), past/nature (glorifying past, importance of nature, especially in Gothic genre), medievalism (also Greek and Romans), isolation. Industrial Revolution: Plays an important role: Emergence of middle class, urban sprawl, they start being represented, class/ gender difference. More people start “being British”. Victorianism (1837-1901) Over the 19th century there were many developments in the widespread questioning of the place and value of women in English society, the women question in Victorian era in England witnessed various debates over women´s place. Until the 19th century in England we never heard the voice of women because of the patriarchy society, but, at the same time, the most powerful person in England was a women called Queen Victoria, she epitomized the ideal wife and mother. The question about what is a women emerged thanks to an earlier text by Mary Wollstonecraft A Vindication of the Rights of Women (1792). The women question in Victorian England witnessed various debates over women place in socity which opposed: the need of women to had educational, political and economic opportunities or women placed in the home as seen in the poem The Angel in the House by Coventry Patmore. This separate spheres were an ideology from: 1. The industrial Revolution 2. Men (will of God and biologic determinism) public Sphere 3. Women (religious doctrines) Private sphere (not domestic) 4. The separated spheres ideology: women and men are unapologetically different and therefore distinctive gender roles are natural. Women´s morality was closed from how they use their bodies. A women was moral if she was virgin or married and immoral if she was a prostitute. Another way to escape form this was being a nanny or teacher, the only role a women could get. Why did women take central stage? To be found in the changes that industrialization and capitalism brought new types of work. The development of women´s labor in industrial that led them to realm of the public sphere challenge traditional notions of women as economically inferior and bound to the private sphere. Women were obliged to live under a strict scrutiny regarding established traditional alongside scientific theories that revolved around their supposed physical and mental limitation. Because they were found in the changes that industrialization and capitalism brought about (important in political, social and literary debates). Industrialization brought new types of work and all of them could be one by men and women although women did not stand the change to be equally paid. John Stuart Mill in The Subjection of Women (1861) demands equality of men and women. The text addressed to women to wake up, to refuse the position they are been told “No women, no men, only humans”. Other texts: • Cassandra by Francis Nightingale The notion of coverture At the beginning of the 19th century, married women had no standing due to the notion of coverture. Coverture refers to legal conception that a women´s rights were engulfed under her husbands which implied that women had no right to own any property. Marriages was the union of women and man. It is also connected with the “communion” when you union with god. Literature of the working classes With mass production of popular fiction come the notion of the popular mass that consumed it- a mass of indiscriminate and addicted readers who cared little about the context of what they has a long as it gratified needs. Education became a matter of reading selection of texts that were rise above the popular. Emerge of the working class market. • The “penny Fiction” magazines (1855) • The Literature of the working classes by Fanny Mayne (1850) EMERGE OF THE NOVEL: The excess of the Reign of Terror (1793-1795) and patriotic opposition of the threat of invasion. The Methodism, and important movement: Protestant Christianity. John Wesley focused on sanctification, assurance of salvation, imparted righteousness, perfection of love, charity… later became a separate movement form the church after the death of John. In the late XVIII Romanticism is almost apart and give pass to a new branch called realism. Romanticism, Realism and Gothic fiction live together at the beginning go the XIX Century. The novel was seen as a narrative form opposed to romance, a work of fiction dealing with the affairs of everyday life. The novel is born with low class people demand. The classic Victorian novel read and studied today was largely written by and for a specific but restricted middle class readership and consolidated middle class values. Victorian novel is very conservative and it is the difference between the novels of the 19th century in U.S like Melville “Body-Dick” (1849) In the 19th century women were the best sellers. The novel was related to the revolution in printing and reading. In 19th century the Industrial Revolution created cheap printing and rapid book distribution. Reading was an active act. Novels gave instruction for the “real life” situations.The novel was adapted to define central aspects of Victorian appearance. The railway for the first time connected the north and the south part of England. The book market was rapidly distributed across the nation and extending the circulation of libraries. Victorian decades is an age of doubting everything. This hunger of knowing is registred in the expanding of lectures. Also a lot of mockery of the values of the Victorian era were attacked by authors such as Jane Austin who was very highly political. Nevertheless, Romance was rescued by authors like Walter Scott. GOTHIC SCENERIES 18TH AND 19TH CENTURY. GOTHIC FICTION, GOTHIC ROMANCE AND SENSATION 1. GOTHIC ROMANCE: England with the Glorious Revolution. This change form Catholicism to Protestantism have an impact on child literature. Also the evolution of capitalism. 18th century children´s fiction became significant to display the Protestant ethic in every book of children that permeated capitalism. For example, Robinson Crusoe. Liberal middle class ideology of the conception of childhood espoused by John Locke and Rousseau: a. Rousseau says that children are a natural creatures in need of education. Parents and family were the ones to inculcate this to their little ones. Reading was a priority. b. Locke in Deluctando Monemus triggered the emergence of children´s book and conforming to form enlightened new children. Children as the stronghold being through whom to protect a sense of national character out the corruptions of adulthood. Childhood was important as a side for reforming society. 8. FANTASY/FAIRYTALES Fairy tales: Transgression-Bildungsroman. Ability to self-realization. Comes from Romanticism: divine innocence and the power of imagination. • Alice´s Adventures in Wonderland (1865) • Through the Looking-Glass (1871) 9. MORAL FICTION John Nunyan´s Pilgrim´s Progress: moral guide. Discourse that they had to follow. Virtues vs. Vice (what you can and cannot do) Literary to engender the soul of children Readers essentially lacking both spiritual and material well-being. 10. SCHOOL STORIE AND ADVENTURE TALES: Openly boy´s fiction Separation of home. Civilizing values to construct better man. Problematizing childhood in transition to specific type of masculinity. 11. HOME AND FAMILY LIFE Girl’s fiction Significance of religious in the home Maturation from girls to women. Places the heroines at home and family –girls to get married. Elisabeth Sewell´s Experience of Life or Louisa May Alcot´s Little Women Culture of empire –to justify British political power- (also seen in Jane Eyre at the end of the book). 12. GOTHIC FICTION Late 19th this new variety of Gothic fiction linked to fantasy and the supernatural became one of the literary forms of modernity, modern subjectivity detached often politically. Darker side of human nature. The main concern was to create reaction form the reader, in this case mainly one of the terror and horror. In this time the fiction is more within human nature and not as was before more concern in the outside. • The Picture of Dorian Grey by Oscar Wilde (1890) • The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886). THEATRE Some of the most important theatres: • Adelphi • Astley´s Amphiteathre • Pavilion (Newgate novels, melodrama…) • Sadler´s Wells Surrey. Acting editions: • Thomas Hailes Lacy (1848-1873) • Ducinbe´s Acting edition (1828-1852) • Websters Acting National Drama series Actor-manager System: Method of theatrical production dominant in England and the US in the 19th Century, consisting of a permanent company formed by a leading actor who shoes his or her own plays, took a leading role in them, and handled business and financial arrangements. e.g. David Garrick, Edmund Kean, Madame Vestris and Sir Henry Irving. Audiences: “Theatrical Reflection, or a Peep at the Looking-glass Curtain at the Royal Coburg Theatre” (1822) courtesy Harvard Theatre Collection. It existed in the theatre a mirror with the reflection of the audience. Theatre was not only for high classes. Theatre was also for the popular attraction. There were theatres everywhere. Staging (How technology influenced stage): • Floor trap: in order to show that the vampire went to hell • Architectural changes on the stage (page 94) • Large working space needed because they were using all this stage effects: wing spaces, sub- stage machinery, backstage: gradation (for especial machines like chariots and could descending form heaven). • Candles • Theatrical patterns • Gaslight ca 1817 • Limelight ca 1837 (1850) • Electric carbon (ca 1848) • Breeches • Cross-dressed or travesties roles In this picture (page 100) you get a good view of the hydraulics which operated the stage machinery at Drury Lane. It was this extensive array of stage technology which made possible the extravagant spectacles and effects for which Bruce “Sensation” Smith got his nickname. Arthur Collins modernized the machinery backstage, installing new electric bridges. These ramps could be angled back and forth to simulate, for instance, the rocking of a ship. The Great Ruby made use of the new bridges for the first time, and Smith would go on to create sensation after sensation at Drury Lane: horse races, sinking ships, earthquakes, flooded towns, giants etc. Improvements in apparatus for producing optical illusions: This improvements are known as the ghost illusion, being the reflection or refracted image of an actor or object which is presented on a sheet of plain glass, and which at the same time that it serves to present the figure to the spectator also permits actor and object to be seen through it. Theatrical Patents: “New Modes of Lighting Theatres” • Electra in a New Electric Light by Francis Talfourd: Tricks in Stage: “The Euphonia, or speaking machine” “We noticed this new Speaking Automaton (muñecas que hablan) a fortnight since, and then recorded its feats arte loquendi. The Speaking Head of Roger Bacon and similar inventions of much earlier date, show that the idea of applying machine to imitate life, is of some antiquity, and that considerable success was not deemed impossible. One of the greatest masters in this way was Vaucanson, with his duck, his flaute and flageolet players. Marvels of Magic and Ventriloquism. Patent and non-patent theatre. Bruletta debates: 1737: Licensing Act which was in force until 1843 bestowed on Drury Lane and Covent Garden exclusive rights to perform spoken drama. Burlettas were the only type of play allowed in minor theatres, which devised ingenious schemes to flout the law in their competition with the Theatres Royal. Legitimate and Illegitimate theatre: Legitimate Drama: tragedia, drama and comidies. Illegitimate: melodrama, farces, burlettas, comic opearas, burlesque, extravaganzas... Melodrama: “Type of play popular all over Europe in the 19th Century. The term derives from the use of incidental music in spoken dramas. Elements: 1. Became customary in German theatres during the 18th Century, and form the French melodrama, a dumb show accompanied by music; Burlettas: The name was extended in the mid 19th century include plays put at the minor theatres which contained at least five song in each act. This made any play legally burletta, and so not subject to the licensing laws. The Burletta had much in common with the extravaganza. The addition of songs, and sometimes of instrumental interludes or solo dancers, allowed the unlicensed theatres to present any legitimate play, including those of Shakespeare. Burlesque: English, a satirical play, usually based on some well-known contemporary drama or dramatic fashion that offered scope for parody. It’s got hypertext (original text which the parody comes up). The traditions of burlesque had been upheld by Gay with The Beggar´s Opera; by Henry Carey, who burlesqued both opera and drama; and by Fielding in The Tragedy of Tragedies. In the 19th Century, a new type of burlesque flourished. It retained enough of its origins to choose as its target a popular play, but the element of criticism was lacking. This may have been due to the increase in the size of the audience and the lowering of its general educational level, since the success of the earlier type of burlesque had depended on familiarity with the subject of ridicule. H.J. Byron, with Aladdin; or, the Wonderful Scamp . Possibly Byron´s execrable puns, as well as the reform of the stage initiated by T.W. Robertson, finally killed the burlesque, though not before it had provided London. What critics say: “While such fine distinction between burlesque and travesty carry their own logic, they do not conform to 19th century theatrical practice. A theatre historians know only too well, the term burlesque, travesty, and even extravaganza were used interchangeably by playwrights, managers, actors, critics and spectators alike… 19th century stage did not insist upon precise differentiations among various theatrical forms and styles… whether originally labelled burlesques, travesties, extravaganzas or some combination thereof the plays included in this edition all present themselves as comic misquotations of original legitimate plays and performances. Elements: • Rhymed couplets in a parody of the original text • The transposition of characters form high to low…. • The contemporanization of past events… • The ludicrous re-enactment of classic scenes… a pronounced theatrical bias with an emphasis on stage business, sight gags, and special effects…. Relentless puns; And soliloquies and set pieces rewritten as lyrics to contemporary songs, whether popular, operatic, or even minstrel… above all, burlesques trafficked in topical allusions. Types of Burlesque: 1. VICTORIAN SHAKESPERARE BURLESQUE: Late 18th already a burlesque disposition toward Shakespeare. 19th menacing Shakespeare as a national icon. Actor manager system hast o play. He choses the play. He tailors the plays, adapted. Sir Laurens Olivier, XX most important in Shakespeare plays. Kenneth B was one of the stars acting this plays. Transgressive Theatrical practice: Burlesque (making fun, satirizing). Novility are low treated (Lady Mc.Beth dying). Rymmed couplets in parody or paraphrase of Shakespeare text. Soliloquies and set prices as lyrics of famous songs. Examples: 1. Romeo and Juliet Travesty (1812) 2. Othello Travestie (1813) 3. New Grand, Hysterical, Bombastical, Musical and Completely Illegitimate Tragedy to be called Richar III (1844) 4. WR. Snow Hamlet the Hysterical, a Delirium in Five Spasms (1874) 5. A thing Slice of Ham Let! (1863) Shakespeare was not only parodied in theatres but also in other forms of popular culture, in suburbs. In 1850 a comic singer Sam Cowell, one-man parodies of Hamlet, McBeth, The Mercahng of Venice, Richard III in Evan´s Supper Rooms. George Cruskshandks 1846 caricature of John Phillip Kemble as Hamlet Confronting the ghost. • McBeth Travestie by Francis Talfourd (1847 first performed). 2. CLASSICAL BURLESQUE: Burlesque based on Greek and Roman tradition, mostly randon mythological references, but also tragedies (high-low classes. Middle classes were familiar with the plot so they were able to follow the tragedy), comedies, epic… • Antigonie Travestie (1845) by E.L Blanchard • Medea; or the Best Mothers, with a Brute of a Husband, a burlesque in one Act (1856) Tableaux (Vivants) • Tableau (French: Picture) Continental equivalent of SCENE, used in English to refer to the stage picture obtained by a particular scenic effect and/or the grouping of performers. • Tableau vivant: (French living picture). Representation of a well known picture or piece of statuary by a performer or performers in costume, who remain motionless and silent. No reference for the audience. Pygmalion and Galatea by George Bernard Shaw : it is a drama story made more realistic… • Les Filles de Marbre • The Marble Bride • The Marble Maiden • Home Pastimes: tableaux vivant. COMIC THEATRE: It is a legitimacy theatre. In early 19th century Gilbert a Becket says writers are successful five Act. Characteristics: 1. Poetry-romantic comedy- domestic love plots. 2. Contemporary manner Human is not spoken drama, it is in minor. Development: dominated by character type. It is an old school focused on drama. It is one bared on sentimentality. Henry James Byron is an example of old school writer of spoken comedy and minor comedy. Reform by Thomas William Robertson. 1880-1860 drama was determined by character type. He says that “Comedy of time must be faithful to the character of the time”. Character must reflect society. 1870-80 there is more emphasis on spoken drama. William Archer “English dramatiaded of today: through 19th century here is a debate as what is drama. By 1880 the publication shows much concerned of dramatist. Play of entertainment. This book shows a concerned on writing good drama. Place: setting are realistic “drawing room”. We have big descriptions. Character: we know them because of action-words. Time: realistic use of time, England 19th Contemporary settings. There is verisim. • Caste by Thomas William Robertson (1867 first seen) POETRY Poetry have regular pattern. Metrical Foot: • Read the line and divide into syllables • Smallest write • Strong (accented syllable) weak (unaccented) • Types: 1. Iambic monometer 2. Trochaic 3. Anapaistic 4. Doctylic Verb forms: Scansion: A regular line of verse is expected to choose one type of metrical foot and repeat it. The producing the simplest kind of verbs monometer-tetrameter. Classical prosody counts the number of feet ina line and gives the total in Greek: 1. Iambic monometer 1 2. Trochaic dimeter 2 3. Anapestic trimester 3 4. Dactylic tetrameter Sad and melancholic life. Parents died when he was very young. He was always afraid of being ill, but he was all the time, even he did not married, avoid love because he know he was going to die. After university, he joined a surgeon, trained to be a doctor but finally devotes to writing. Negative Capability: Present in most of his works. Ability of the poem to distance from the first lyrical person of the poem even though he was involved in the poem. Ballads: repetitions, finding simplicity, hiden message, shortage. 12 stanzas- Quatrins. Iambit tentrameter and dimeter. • La Belle Dame Sans Merci 7. Alfred Lord Tennyson (1890-1892) Influenced by Romantics, but is Victorian Poet. Around the world, role of the artist in society: writer. Past references. Responsing to the world in another way. His father was a priest, wealthy, event hough they were a very numerous family. Surrondounded by Mental Illness and always afraid for being ill. Cambridge studies, meets Arthur Henry Hallam. 1829 The Apostoles: association; 1932, first collection of Poetry Alone, not positive critics; 1842 Revised more convinced. 1850 Poet Laseeattra of the Country. Tennyson became almost blind at the end of his life, mental compositions. Ideal of Medievalism: going to the past and speak about the present. • In Memoriam • The Lady of Shalott 8. Percy Bysshe Shelley (1792-1822) Son of a country lord. He received education in Eton, one of the most elite in UK, he also went to Oxford. He also had radical ideas like Byron. He was expelled from University because he wrote “The Necessity of an Atheism” with Tom Jeferson Hogg. He moved to London and continue with his radical ideas. He married Harriet Westbrook, he has a daughter with her. He escape with her as his father did not accepted their relation. 1814 he met William Goldin g. (an important thinker married with Mary Woolstonecraft) and their daughter Mary Goldin Wollstonecraft most known as Mary Shelley. 1816 Jane Claire Clarmer is the stem sister of Mary as his dad married with another women after the death of his wife and after having Mary Shelley. Shelley is Platonic and idealistic poet. For him the poet is a legislator of the world (being the center) which the poet can change the world for good. Ramses II: the Sculpture in the British museum by Giovanni Belzoni in 1816. This sculpture was the inspiration of Shelley for his poems. • Ozymandias. He publishes the poem in The Emperor. It is a sonnet 8+6 ABABACDC EDEFEF. Survival of the passion in his face Pygmalion table. The idea of Beauty and how is represented in the sculpture. The passing of the time and the insignificance of power. 9. Elizabeth Barret Browing (1806-1861) From a wealthy family with platantation in Jamaica. She was the first to be born in England, gifted, she received education at home and turned herself into Greek and Latin. She started to write poetry since very young. In 1844 published her poems. She exanged more than 500 letter with Robert Browing. Later they eloped to Florence and got married. • Sonnets form the Porgutguese : the reason for the name of Portuguese is because he refer her like that because of their brown skin, this became a myth, the perfect married couple. People used this sonets for love reference. In 1899 the son of the couple published the private correspondents (letters) of the couple. Form that time the myth of the perfect wife broke. She was quit read author and then she was not so popular anymore until the feminist movement during the XX century and her name was recovered. • Aurora Lenigh : very corageious. Talk about present. This poem has been read as an “epic novel” because its length written in vers. Story of Aurore form the very years to later. It can be also taken as a Bildelgrunroman. Written on the first person, nine division among the poem, the blanc verbs, unrhymed, without an end rhymed. Story: her father and mother died when she was young in Florence. She is brought to England to the care of her aunt. She is going to have a lot of problem, she encounters the Victorian society, this interfere with the story of Aurore and the thoughts of Elizabeth Barret. She is going to have a lot of suitors but she does want to have a career life. the poem is very satirical and critic of the society of the time. 10. Robert Browing (1812-1889) He introduced the dramatic monologue. Educated at home in a wealthy family he went to university in London. He tried to write plays but he was no successful. Nevertheless, he try to introduce drama in his poems. Dramatic monologue also called Dramatic Lyrics or Dramatic Romances, Lyrical monologue, monodramas. George Thembury (1857) coined the term Dramatic Monologue. Three ingredients of Dramtic Monologue: a. Inspired by poetry, narrative and drama novel Poetry: the vers and the emotional feelings. Drama: romantic statics (the poet is the first lyric person) but in Dramatic monologue is not the poet but a character (external) this is what he takes form Drama. Three important elements: a. Speaker b. Implied author c. Reader There is a gap betwee what the speakers says and the thing want to say (this must be filled by readers). THE PRERAPHAELELITE BROTHERHOOD Women center of poems, pointing and writing. Death and Love Nature as a source of inspiration. Dante Gabriel Rosseti +William Homan Hunt +John Everett Millais Writing painting painting • Signed their works with “PRB” • Addition latec of: Thomas Wedner, James Collison, E.G. Setephons. Why Pre-Raphaelite? • Against the classicism of the Royal Academy of Arts. Raphael (the artist) • Inspired by: John Ruskin “Modern Painters” 1843-6 (going to nature to inspire) and Carlo Lasinio engravings of Gietto and others. Symbolic, detailed and Simplistic. 1. Dante Gabriel Rossetti 1828-1882: Most important author of the brotherhood. Son of Gabriel Rossetti and Francesc Polidori (sister of polidori of Vila Diodati) “Double Works” “Ekphrasis”, Graphic, often dramatic, description of a visual work of art. Combining words, and visual (putting in words a visual). SASS´S DRAWING SCHOOL 1841 for his studies on painting. Later interest on writing. ANTIQUE SCHOOL OF ROYAL ACADEMY 1845. Sir Joshua Reynolds (head) stablished cannons. Publication in “The Germ: Toughts towards nature into poetry, literature and art” journal only form January to April. Short but influential. Objectionable and Morally Shoking: • Topics (poverty, double standards…) Society through symbolism. • Approach to religion (realism) • Vivid sensuality Symbolism: • Simplicity of Nature, provide symbols. • Archaic atmosphere • Female models Elisabeth Siddal: wife and muse. Many novels aobut them, to avoid depression. Page 181: Ballad: inspiration in past Secstets: Iambic trimester and tetramiter A 4B3 C4 B3D4B3 1847 writing; 1850 publication; 1848 translation by him; 1871 painting of the poem. Topic: love, imparadised women (women set in paradise, in heaven), man of lover, wanting to go to heaven but impossible. Nature: PreRaphaelites tool; Romantics to express the self. “The lady of Shalott” struggle of society-artist; being engaged or not with society. Pre-Raphaelites use this a lot: