STUDENT SCRIPT - Englisches Seminar II - Universität zu Köln

Universität zu Köln Dr. Göran Nieragden, M.A.
Englisches Seminar II
INTRODUCTION INTRODUCTION TO TO LITERARY LITERARY AND CULTURAL STUDIES STUDIES ( (BM ( BM 3)
This course familiarizes students with (a) approaches and instruments of interpretation and
criticism, (b) a rough outline of Anglo-American literary history, (c) exemplary in-detail analysis
of a variety of literary texts, (d) the major elements of cultural life in the UK and the US, (e)
the chief tools used in analysing these. We will introduce the disciplines' critical vocabulary
and gain an insight into the way in which they can illuminate specific texts and current debates,
addressing issues such as gender roles, authorship, canonicity, reception history, intertextuality,
identity and multiculturalism
STUDENT STUDENT STUDENT STUDENT SCRIPT SCRIPT SCRIPT SCRIPT
YOUR NAME: .....................................................................................
Page Session*
What We Are Talking About 1-3 1-2
Theories & Models in Literary Studies: Research Landscapes 4-7 2-3
Approaches 4
Bibliographic References 7
Literary History & Literary Histories 8-11 4
Genre 1: Theory & Terminology 12-22 5
1.1 Communicative Situations of Main Literary Genres 12
1.2 Poetry: Elementaries of Rhyme 13
1.3 Poetry: Rhetorical Figures 15
1.4 Drama and Drama Analysis: Key Terms 17
1.5 Narratology and Narrative: Key Terms 20
Genre 2: Primary Texts Discussion: Novel or Drama (to be announced)** --- 6-7
Genre 3: Poems for Home Study and Class Discussions 23-25 7-8
Teilklausur Teilklausur Teilklausur Teilklausur 1: 1: 1: 1: (Applied) (Applied) (Applied) (Applied) Literary Literary Literary Literary Theory Theory Theory Theory & & & & Primary Primary Primary Primary TTexts
TT
exts exts exts Criticism***
Criticism Criticism Criticism***
*** --- 9
Cultural Studies: Definitions and Key Concepts 26-28 10
Cultural Studies: Tools 29-39 11
Bibliographic References 29
Making Sense of Space (Maps) 30
Cultural Histories of Time (Chronologies) 32
What CS wants to find out about: Examples 1 40-42 12
What CS has to offer: Examples 2 43-46 13
Teilklausur Teilklausur Teilklausur Teilklausur 1: 1: 1: 1: Practical Practical Practical Practical Analysis Analysis Analysis Analysis in in in in CCultural
CC
ultural ultural ultural SSSStudies tudies*** tudies tudies *** --- 14
* throughout the script, seven self-study sections are particularly marked (s. pp. 6, 7, 9, 23, 32, 43,
45); key passages and findings are accompanied by a star symbol.
** the primary texts vary each term and usually comprise 1-2 novels and/or playtexts.
***marks achieved in the two 'Teilklausuren' will be combined (50% / 50%) with the results of the term
paper (=HRGe) or the written exam (=GS; SP) in LSP I / CSP I; the resulting grade is your 'Modulnote'
for BM 3.

What What We We Are Are Talking Talking About
About
Nieragden: ILCS 1
WHAT WILL YOU GAIN FROM DOING LITERARY STUDIES? YOUR THOUGHTS:
(a) Elaine Showalter. 2003. Teaching Literature. Oxford: Blackwell, pp.26-27:
[...] when we teach reading literature as a craft, rather than as a body of isolated information,
we want students to learn the following competencies and skills:
1 How to recognize subtle and complex differences in language use.
2 How to read figurative language and distinguish between literal and metaphorical meaning.
3 How to seek out further knowledge about the literary work, its author, its content, or its
interpretation.
4 How to detect the cultural assumptions underlying writings from a different time or society,
and in the process to become aware of one's own cultural assumptions.
5 How to relate apparently disparate works to one another, and to synthesize ideas that
connect them into a tradition or a literary period.
6 How to use literary models as cultural references, either to communicate with others or
to clarify one's own ideas.
7 How to think creatively about problems by using literature as a broadening of one's own
experience and practical knowledge.
8 How to read closely, with attention to detailed use of diction, syntax, metaphor, and
style, not only in high literary works, but in decoding the stream of language everyone in modern
society is exposed to.
9 How to create literary texts of one's own, whether imaginative or critical.
10 How to think creatively within and beyond literary studies, making some connections
between the literary work and one's own life.
11 How to work and learn with others, taking literature as a focus for discussion and analysis.
12 How to defend a critical judgment against the informed opinions of others.
WHAT IS LITERATURE? [all highlighted highlighted passages by me, G.N.]
(a) Jonathan Culler. 1997. Literary Theory. A Very Short Introduction. Oxford: OUP, p. 41:
Literature is a paradoxical institution because to create literature is to write according to existing
formulas - to produce something that looks like a sonnet or that follows the conventions
of the novel - but it is also to flout those conventions, to go beyond them. Literature is is
an an institution that lives by expos exposing expos
ing and criticizing its its own own limits limits, limits by testing what will happen if
one writes differently. So literature is at the same time the name for the utterly conventional -
moon rhymes with June and swoon, maidens are fair, knights are bold - and for the utterly
disruptive, where readers have to struggle to create any meaning at all [...].
(b) Ronald Carter. 1997. Investigating English Discourse. Language, Literacy and Literature.
London: Routledge, p. 169:
Literary uses of language and the necessary skills for its interpretation go routinely with all
kinds of text, spoken and written. Literature exists at many different levels for different people
in different communities but it is argued here that literary language is not simply any use of
language. The The main main argument argument [...] [...] is is that that literary literary language language will will always always be be patterned pat
pat terned in some
way way and and will will involve involve a a creative creative play play with with these these patterns. patterns. The patterns may also involve words
or structures which are representational and not intended to be read literally. The patterns
invite involvement on the part of a reader or hearer who then has an option to interpret the
text as the context and circumstances of the language use appear to him/her to demand.
This patterned, representational 'literary' aspect of language is central to language use,
though it will of course occur wih greater density in some texts than others. The sooner language
learners can come to appreciate this central component of language, the sooner they
appreciate that th they th
ey themselves themselves and and other other users users of of language language are are essentially essentially creative.
creative.
(c) Rita Felski. 2008. Uses of Literature. Oxford: Blackwell, p.14:
[...] I propose that reading involves a logic of recognition; recognition recognition recognition that aesthetic experience has analogies
with enchantment
enchantment enchantment
enchantment in a supposedly disenchanted age; that literature creates distinctive
configurations of social knowledge; knowledge knowledge knowledge that we may value the experience of being shocked shocked shocked shocked by
what we read. These four categiories epitomize what I call modes of textual engament: they
are neither intrinsic literary properties nor independent psychological states, but denote
multi-leveled interactions between texts and readers that are irreducible to their separate
parts.

Nieragden: ILCS 2
WHAT ARE LITERARY STUDIES' ? YOUR THOUGHTS:
(a) Philip Hobsbaum. 1970. A Theory of Communication. London: Macmillan, p. 82:
Most misreadings of valuable works are failures of criteria. [...] The critic has a duty to make
the work seem as good as it can: this is not a matter of reading in his own attitudes but finding
out those that are there in the work. The process is one [...] of choosing a criterion: of let let- let
ting ting one’s one’s mind mind explore explore the the the work work from from different different angles angles in in the the hope hope of of finding finding a a viable viable ap ap-
ap
proach proach - of finding, one hopes, the most viable approach. [...] It will not blind us to the faults
of a given work; it may, however, put them in perspective.
(b) Helen Vendler. 1988. The Music of What Happens: Poems, Poets, Critics. Cambridge,
MA: Harvard UP, p. 2:
The aim of a properly aesthetic criticism [...] is not primarily to reveal the meaning of an art
work or disclose (or argue for or against) the ideological values of an art work. The aim of an
aesthetic criticism is to to describe describe describe describe the the art art work work in in such such a a way way that that it it cannot cannot be be confused confused with
with
any any other other art art work work (not an easy task), and to infer from the art work the aesthetic that might
generate this unique configuration.
(c) Peter Washington. 1989. Fraud: Literary Theory and the End of English. London:
Fontana, p. 15:
Academic discourse is concerned less with finding answers than with formulating questions. .
It It teaches teaches us us not not what what to to know know know but but how how to to think.
think.
(d) Harald Fricke & Rüdiger Zymner. 1991. Einübung in die Literaturwissenschaft.
Parodieren geht über Studieren. Paderborn: Schöningh, S. 17:
Die zwei größten Fehler einer literaturwissenschaftlichen Ausbildung (komplementär, aber
leider durchaus kompatibel) wären es deshalb: einerseits den Beteiligten die spontane
Freude am Umgang mit Literatur zu nehmen - und sie andererseits vor dieser Literatur begriffslos
mit offenem Munde stehen zu lassen.
(e) Barbara Korte, Klaus Peter Müller & Josef Schmied. 1997. Einführung in die Anglistik.
Stuttgart: Metzler, S. 73-74:
Der wissenschaftliche Umgang mit Literatur setzt sich, wie jede wissenschaftliche Betätigung,
bestimmte Erkenntnisziele und nähert sich diesen unter Rückgriff auf Erkenntnismethoden
und möglichst klare Analysebegriffe, also unter Benutzung einer Fachsprache, die es
zu beherrschen gilt. . Ein Ein wichtiges wichtiges Ziel Ziel literaturwissenschaftlichen literaturwissenschaftlichen Arbeitens Arbeitens ist ist es, es, das das Be-
Be
deutungsangebot eutungsangebot eines eines eines Textes Textes möglichst möglichst umfassend umfassend umfassend auszuschöpfen auszuschöpfen und die gewonnenen
Erkenntnisse Erkenntnisse präzise präzise und und für für andere andere nachvollziehbar nachvollziehbar zu zu formulieren. formulieren.
Die Resultate einer
wissenschaftlichen Auseinandersetzung mit Literatur müssen kommunizierbar und überprüfbar
sein, auch wenn das Verstehen literarischer Texte als typisch geisteswissenschaftliches
Verfahren [...] nie so objektiv sein kann wie Erkenntnisse in den Naturwissenschaften. Um so
wichtiger ist es, das eigene Verständnis eines Textes belegen und zu anderen Verstehensweisen
durch die literaturwissenschaftliche Fachsprache in Bezug setzen zu können.
WHAT DO YOU NEED TO DO LITERARY STUDIES'?
Merritt Moseley. 1995. “Studying Literature.” In: Graham Atkin, Chris Walsh & Susan Watkins
(eds.). Studying Literature: A Practical Introduction. Hemel Hempstead: Harvester
Wheatsheaf, pp. 9-24; here p. 12; 20; 23:
Disagreement is normal - as you will discover if you listen to any gathering of intellectuals -
and is in fact the condition of discovery. That you disagree with received opinion is evidence
neither that you are right nor that you are wrong; the important thing is to seek good grounds
for our judgements and persuasive arguments to support them. [...] in your studies you will
be be expec expected expec ted to to make make arguments for your own views, to engage in in in discussion, discussion, discussion, to read read critical
essays essays which which differ differ from from your your own own opinions opinions and and from from each each other other - all all activities activities which which assume
assume
that that your your interpretation interpretation of of a a literary literary text text is is capable capable of of being being shared, shared, and and that that your your task task as a
student student is is more more than than simply simply adopting adopting the the views views of of the the most most powerful po
werful reader in sight.
The most important kind of preparation is reading. Studying literature is primarily based
on reading, including many kinds of texts. Read all the texts when you are asked to read
them. There are many reasons why you should do this. One is that you will get far more more out
of of lectures lectures and and seminars seminars if if you you have have have completely completely completely and and thoughtfully thoughtfully read read read the the text(s) text(s) being
being
addressed addressed in in them them. them You cannot understand a class, you cannot cannot take notes on on it, you cannot
remember remember what what is is im important im portant in it, on on a a book book you have not not not read read. read [...] You cannot discuss a
book intelligently if you have not read it. Lecturers appreciate students who come to class
prepared to make a contribution.

Nieragden: ILCS 3
WHY CAN LITERARY STUDIES SEEM SO CONFUSING? YOUR THOUGHTS:
(a) Culler [1997:16-17]:
Theory makes you desire mastery: you hope that theoretical reading will give you the concepts
to organize and understand the phenomena that concern you. But theory makes mastery
impossible, not only because there is always more to know, but, more specifically and
more painfully, because theory is itself the questioning of presumed results and the assumptions
on which they are based. The nature of theory is to undo, through a contesting of premisses
and postulates, what you thought you knew, so the effects of theory are not predictable.
You You have have not not become become master, master, but but neither neither are are you you you where where you you you were were before. before. You You reflect
reflect
on on your your reading reading in in new new ways. ways. You You have have different different questions questions
to to ask ask and and a a better better sense sense of of the the
the
implications implications of of the the the questions questions you you put put to to works works you you read.
read.
(b) Ansgar Nünning. 1997. “On the Uses (and Abuses) of Theories and Metalanguages in
Literary and Cultural Studies: Ten (teutonic) Hypotheses and Some Suggestions.” European
English Messenger VI/2, pp. 25-32.
1. Literary-historical ‘objects’ such as genres, genres, periods, periods, or or ‘movements’ ‘movements’ are are neither neither given given nor
nor
found, found, but but con constructed con structed by an observer who uses explicit theories theories or proceeds from intuitive
assumptions. assumptions. 2. There here are are no no ap approaches ap
proaches to to literature literature nor nor forms forms of of criticism criticism or or close close-reading
close reading reading
that that are are not not based based on on theoreti theoretical theoreti cal as assump as
sump sumptions. sump tions. [...]
► WHAT DO YOU YOU YOU YOU EXPECT FROM LEARNING ABOUT LTERARY STUDIES?
.
....

Nieragden: ILCS 4
Theories Theories & Models in Literary St Studies St
udies udies: udies : Research Research Research Landscapes
Landscapes
Landscapes
Approaches
Approaches
EXTRATEXTUAL WORLD / HISTORICAL REALITY OTHER WORKS / TEXTS
1 2
WORK / TEXT
(form ⇔ content) 5
3 4
PRODUCER / AUTHOR RECEIVER / READER
APPROACH
APPROACH
1
MIMETIC
MIMETIC
2
INTERTEXTU
INTERTEXTUAL
INTERTEXTU
INTERTEXTUAL
AL; AL
INTERMEDIAL
INTERMEDIAL
3
EXPRESSIVE
EXPRESSIVE;
EXPRESSIVE
SUBJECTIVE
SUBJECTIVE
4
RECEPTIVE
RECEPTIVE
5
AUTONOMOUS
AUTONOMOUS
AUTONOMOUS
INTRINSIC
INTRINSIC
FORMALISTIC
FORMALISTIC
'WORKS' ARE: about related to by for constructed
CONCEPT OF
'WORK'
RELATIONSHIP
STUDIED
a window on reality
'work' ⇔
'world'
MAIN THEORIES -backgrounds: history,
politics, culture,
mentalities
MODEL
QUESTIONS
-expression of ideologies(fundamentalism;
marxism 1 ;
feminism 2 ; postcolonialism
3 )
'Which attitude
does the late-19 th
Century American
short story take to
the recent Civil
War (1861-65)?'
a version of other
works
'work A' ⇔
'work B'
-literary history
-genre history
-sources or influences
-use of topics &
motifs
-change to other
media
(=intermediality)
'Compare the
treatment of romantic
love ideals
in work x to that in
work y'.
produced by someone
'work' ⇔
'author'
-use of biographical
elements
-psychoanalytical 4
reading of author's
personality
-role in author's
total œuvre
'Which of her
many professional
disappointments
did the author try
to dramatize in her
first full-length
play?'
received
by someone
'work' ⇔
'reader'
-reception
history 5
(whowhen-how)-censorship
and
availability
-ideological
employments
'How would
deeply religious
readers respond
to
this poem's
critique of
Biblical stories?'
having internal
structure
'form' ⇔
'content'
-structural
analysis 6 :
rhetorics; narratology;imagery;
style
'By which linguisticfeatures
do contemporary
sonnets deviate
from traditionalexamples?'
1-6
= these six will be explained in more detail on the next page (keywords highlighted highlighted) highlighted
►

Nieragden: ILCS 5
► 1. 1.Marxist 1. Marxist Literary Literary Criticism Criticism = prime importance is given to the material living conditions
(base), not to ideas or concepts (superstructure) ("existence determines essence");
base = the underlying system of economic and technical forces; superstructure = arts, ideology,
politics, family, religion etc.
► in feudalistic and absolutist societies, literature is instrumentalized for reproducing (unjust)
relations of power, and thus only cherishes an illusory version of freedom; in the course
of the ongoing process of proletarian liberation, literature will be important for contesting
power (of state, system, money, language) and thus overcoming false ideologies
ideologies
→ investigates 'constellations of economic exploitation the work shows to be in operation'
2. 2. Feminist Criticism = blanket term for various schools which try
to argue the special case of an écriture écriture écriture écriture féminine féminine féminine féminine (re-study women authors; re-discover neglected
women authors; provide a female countercanon; 'der schielende Blick');
to investigate images of women in male writing (stereotyping; suppression; 'Alice in Genderland');
to question the very difference of biological (sex sex sex) sex and sociological (gender gender gender) gender role conceptions
and want to overcome the heteronormative and patriarchic patriarchic structures of ('phallocentrism') of
arts and society
→ investigates '[wo]men producing, populating, receiving work'
3. 3. 3. Postcolonialism = approaches which focus on the (literary) relationship of domina domination domina
tion vs.
suppression suppression as evident in literature from the Colonizer's as well as the Colonized's perspectives;
categorising racial, explorer's, civilsatory and religious cli clichés cli
chés
► assesses the absence of heterogeneity
heterogeneity and diversity diversity diversity in 'Colonialism/Orientalism' and
their promotion in 'Post-Colonial' Works
→ investigates 'political First and Third World history as evident in work'
4. 4. 4. Psychoanalytical Psychoanalytical Criticism = categorising and 'diagnosing' author's (and characters') decisions
and behaviour through Freudian Analysis, i.e. literary texts become symptoms of an
author's unconscio unconscious
unconscio
us us and his phantasies, dreams, fears, 'neuroses' find expression in recurrent
motifs – works are results of sublimation
sublimation and repres repression repres sion of hidden desires:
Id: passionate, irrational and non-reflective part; source of instinctual physical drives; Superego:
internalized societal norms and mores; outer framework of rules and standards;
Ego: rational, logical and conscious part; mediator between the competing demands of Id
and Superego
► Id's desires are repressed and are forced into the unconscious from where they emerge
as in disguised form (e.g. dreaming, creative acts); symbols need to be 'decoded' [see also:
C.G. Jung (archetypal criticism ~the collective unconscious); Northrop Frye (myth criticism)]
→ investigates 'latent & unspoken desires hidden under the surface of the work'
5. 5. Rea Reader Rea
der Response Response Response Theory Theory = based on the principle that all real readers form part of a in-
terpretive terpretive community community having access to the same language, interpretive strategies and
reading socialization; these, together, provide the reader with a horizon horizon of expectations
expectations
► literary texts are of particular interest when they run counter to this horizon (content,
structure, formal level); all literary texts –due to their ambiguous and allusive use of language
– present gaps gaps gaps (Leerstellen) which readers have to fill acc. to their horizons
→ investigates 'readers' changing reaction to work'
6. 6. Formalism Formalism = the critical practice of focusing on the artistic/linguistic technique of the text;
centering on the internal mechanics of the work, not the extratextual semantics and ideologies
(e.g. rhetorical, linguistic analysis, discourse analysis, syntax // tense usage in a novel;
turn-taking in a play, metaphors // rhymes // layout in a poem)
defamiliarization defamiliarization = literary texts use language differently from ordinary, everyday speech;
this slows down, estranges and impedes the the reader's relation to the text; and is
achieved through; foregrounding foregrounding = devices are put into special focus and thus receive the
reader's attention; their most central one becomes the dominant of a text which generates
the latter's cstructral coherence and unique character
→ investigates 'material composition of work'

Nieragden: ILCS 6
Self Self-Study Self Study 1: : : Which Which Approaches Approaches (s. pp.
p
. 4) 4) are at the centre centre of
these these 15 15 questions questions questions that that are are typically typically asked asked in in literary literary studies? studies?
studies?
1 How do we react to poetry calling the sun "the eye of heaven" ?
2 What do we learn about pre- and post-9/11 New York City from reading
the novel Falling Man ?
3 Do we read the novel Robinson Crusoe differently if
-we are non-white ? -we are islanders ? -we are marxists ?
-we have seen a movie version first ?
4 Which idea(l)s of childhood are latent in Harry Potter
and the Philosopher's Stone ?
5 Why was drama chiefly written in verse before the late 19 th Century ?
6 Why can we not put down a thrilling detective novel before we know the
murderer ?
7 What does it mean if Romeo and Juliet is staged in con-
temporary setting and costumes ?
8 How many readers buy literature on grounds of media fame and prizes ?
9 Do Jane Austen's novels appeal more to young female readers ?
10 Will the trend for 'reading circles' and 'audio books' last for long ?
11 Which poets dominated the movement of early 19 th Century Romanticism ?
12 Are there only medial/visual changes, or principal ones beteen the (print) novel and the
graphic novel ?
13 Has Northern Irish Poetry helped resolve the political
conflicts within the country ?
14 Where has literature influenced music, painting, architecture ?
15 Can the recent productions of 'Twitterature' (=narrative fiction in 140
digits) motivate the 'digital natives' to read more literature ?
YOUR YOUR YOUR YOUR ANSWERS:
ANSWERS:
ANSWERS:
ANSWERS:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.

Nieragden: ILCS 7
Bibliographic Bibliographic References: References: Recommended Recommended Recent Recent Works Works (post (post-2000)
(post 2000)
Self Self-Study Self Study 2: : Observe Observe Observe the the subtle subtle diffe differences diffe rences in book book titles;
check check out out a a number number of of them them them in in our our seminar seminar library
library
1. INTRODUCTIONS & OVERVIEWS
Gymnich, Marion & Ansgar Nünning (eds.). 2005. Funktionen von Literatur - Theoretische Grundlagen und Modellinterpretationen.
Trier: WVT.
Hebel, Udo. 2008. Einführung in die Amerikanistik/American Studies. Stuttgart: Metzler.
Hofmann, Michael. 2006. Interkulturelle Literaturwissenschaft. Eine Einführung. Stuttgart: UTB.
Jahraus, Oliver. 2004. Literaturtheorie. Theoretische und Methodische Grundlagen der Literaturwissenschaft.
Stuttgart: UTB.
Klarer, Mario. 5 2007 [ 1 1994]. Einführung in die anglistisch-amerikanistische Literaturwissenschaft. Darmstadt:
WBG.
Korte, Barbara, Klaus Peter Müller & Josef Schmied. 2 2004 [ 1 1997]. Einführung in die Anglistik. Methoden, Theorien
und Bereiche. Stuttgart: Metzler.
Meyer, Michael. 3 2008 [ 1 2003]. English and American Literatures. Tübingen: A. Francke.
Nünning, Ansgar (ed.). 4 2004 [ 1 1995]. Literaturwissenschaftliche Theorien, Modelle und Methoden. Trier: WVT.
Nünning, Vera & Ansgar. 2005. An Introduction to the Study of English and American Literature. Stuttgart: Klett.
Schneider, Ralf (ed.). 2004. Literaturwissenschaft in Theorie und Praxis. Eine anglistisch-amerikanistische
Einführung. Tübingen: Narr.
Schößler, Franziska. 2006. Literaturwissenschaft als Kulturwissenschaft. Eine Einführung. Stuttgart: UTB.
2. GLOSSARIES, LEXICONS & TERMINOLOGICAL HANDBOOKS
Abrams, M.H. 7 2008 [ 1 1957]. A Glossary of Literary Terms. New York: Holt, Rinehart & Winston.
Beck, Rudolf, Hildegard Kuester & Martin Kuester. 2007. Basislexikon Anglistische Literaturwissenschaft.
Stuttgart: UTB.
Childs, Peter, Jean Jaques Weber & Patrick Williams. 2006. Post-Colonial Theory and Literatures - African,
Caribbean and South Asian. Trier: WVT.
Engler, Bernd & Kurt Müller (eds.) 2000. Metzler Lexikon amerikanischer Autoren. Stuttgart: Metzler.
Kreutzer, Eberhard & Ansgar Nünning (eds.) 2002. Metzler Lexikon englischsprachiger Autoren. Stuttgart:
Metzler.
Nünning, Ansgar (ed.). 4 2008 [ 1 1998]. Metzler Lexikon Literatur- und Kulturtheorie. Ansätze-Personen-Grundbegriffe.
Stuttgart: Metzler.
3. LITERARY HISTORY: NATIONAL LITERATURES
Alexander, Michael. 2000. A History of English Literature. Basingstoke: Palgrave.
Carter, Ronald & John McRae. 2 2001 [ 1 1997]. The Routledge History of Literature in English: Britain and Ireland.
London: Routledge.
Döring, Tobias (ed.). 2007. A History of Postcolonial Literature in 12 ½ Books. Trier: WVT.
Drabble, Margaret (ed.). 6 2000 [ 1 1932]. The Oxford Companion to English Literature. Oxford: OUP.
Eckstein, Lars (ed.). 2007. English Literatures Across the Globe. A Companion. Stuttgart: UTB.
Erlebach, Peter , Bernhard Reitz & Thomas M. Stein. 2004. Geschichte der englischen Literatur. Stuttgart:
Reclam.
Gymnich, Marion, Birgit Neumann & Ansgar Nünning (eds.). 2007. Gattungstheorie und Gattungsgeschichte.
Trier: WVT.
Kosok, Heinz. 2008. Explorations in Irish Literature. Trier: WVT.
Löschnigg, Maria & Martin. 2002. Kurze Geschichte der Kanadischen Literatur. Stuttgart: Klett.
Nowak, Helge. 2006. Geschichte der literarischen Kommunikation - Zur Neukonzeption einer Geschichte der
englischsprachigen Literaturen. Trier: WVT.
Nünning, Ansgar. (ed.). 3 2004 [ 1 1996]. Eine Andere Geschichte der englischen Literatur. Epochen, Gattungen
und Teilgebiete im Überblick. Trier. WVT.
Nünning, Vera. 2005. Kulturgeschichte der englischen Literatur: Von der Renaissance bis zur Gegenwart. Tübingen:
A. Francke.
Head,. Dominic (ed.). 3 2006 [ 2 1993]. The Cambridge Guide to Literature in English. Cambridge: CUP.
Poddar, Prem & David Johnson (eds.). 2008. A Historical Companion to Postcolonial Literatures in English.
Edinburgh: Edinburgh UP.
Schabert, Ina. 2006. Englische Literaturgeschichte des 20. Jahrhunderts. Eine neue Darstellung aus Sicht der
Geschlechterforschung. Stuttgart: Kröner.
Seeber, Hans Ulrich (ed.). 4 2004 [ 1 1991]. Englische Literaturgeschichte. Stuttgart: Metzler.
Stein, Mark. 2004. Black British Literature: Novels of Transformation. Columbus, OH: Ohio State UP.
Zapf, Hubert (ed.). 2 2004 [ 1 1996]. Amerikanische Literaturgeschichte. Stuttgart: Metzler.
Buying Buying Recommendation: Recommendation: Wagner, Hans-Peter. 2 2010 [ 1 2003]. A History of British, Irish and American Literature.
Trier: Wissenschaftlicher Verlag Trier. *** 590 pp., 160 illustrations (incl. CD-ROM with full text
and 480 illustrations); €32,50.

Literary Literary History History & & Literary Literary Histories
Histories
Period Period Models Models Models of of English English Literary Literary History
History
Nieragden: ILCS 8
(a) (1937) (b) (1991) (c) (1991)
Die altenglische Zeit XXXXXXXXXXXXXXXX Altenglische Lit
Die mittelenglische Zeit Mittelalter Mittelenglische Lit
Die Zeit der Renaissance Renaissance Die Frühe Neuzeit: Von Morus bis Milton
Die Zeit des Barocks Restaurationszeit und 18. Jh Von der Restauration zur Vorromantik
Der Klassizismus XXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXX
Die Romantik Romantik Romantik und viktorianische Zeit
Das neunzehnte Jh Viktorianisches Zeitalter XXXXXXXXXXXXXXXXXXXXXXXX
XXXXXXXXXXXXXX XXXXXXXXXXXXXXXX Vormoderne und Moderne
Das zwanzigste Jh 20. Jh Die Zeit nach 1945
XXXXXXXXXXXXXX XXXXXXXXXXXXXXXX Commonwealth-Lit
(d) (1996) (e) 2000
Old English Lit I MEDIEVAL: Old English Lit to 1100
Medieval Lit 1066-1510 Middle English Lit 1066-1500
Renaissance and Reformation: Lit 1510-1620 II TUDOR & STUART: Tudor Lit 1500-1603
Revolution and Restoration: Lit 1620-1690 Shakespeare and the Drama
XXXXXXXXXXXXXXXXXXXXXXXXXX Stuart Lit to 1700
Eighteenth-Century Lit 1690-1780 III AUGUSTAN & ROMANTIC: Augustan Lit to 1790
The Lit of the Romantic Period 1780-1830 The Romantics 1790-1837
High Victorian Lit 1830-1880 IV VICTORIAN LIT TO 1880: The Age and its Sages
XXXXXXXXXXXXXXXXXXXXXXXXXX Poetry
XXXXXXXXXXXXXXXXXXXXXXXXXX Fiction
Late Victorian and Edwardian Lit 1880-1920 Late Victorian Lit 1880-1900
XXXXXXXXXXXXXXXXXXXXXXXXXX V THE 20TH CENTURY: Ends a. Beginnings: 1901-1919
Modernism and its Alternative: Lit 1920-1945 From Post-War to Post-War: 1920-1955
Post-War and Post-Modern Lit New Beginnings: 1955-1980
XXXXXXXXXXXXXXXXXXXXXXXXXX Postscript on the Current
(f) Generally Accepted Model in Contemporary Criticism (from various sources) ► (s. (s. pp. 99-11
9
11 ! !) !
450-1066 Old English (or Anglo-Saxon) Period
1066-1500 Middle English Period
1500-1660 The Renaissance
1558-1603 Elizabethan Age
1603-1625 Jacobean Age
1625-1649 Caroline Age
1649-1660 Commonwealth Period (or Puritan Interregnum)
1660-1785 The Neoclassical Period
1660-1700 The Restoration
1700-1745 The Augustan Age (or Age of Pope)
1745-1785 The Age of Sensibility (or Age of Johnson)
1785-1830 The Romantic Period
1832-1901 The Victorian Period
1848-1860 The Pre-Raphaelites
1880-1901 Aestheticism and Decadence
1901-1914 The Edwardian Period
1910-1936 The Georgian Period
1914-1939 The Modern Period
1945- Postmodern Period
(a) Schirmer, Walter F. 2 1968 [ 1 1937 1937]. 1937 Kurze Geschichte der englischen und amerikanischen
Literatur. Von den Anfängen bis zur Gegenwart. 2 Bände. München & Tübingen: A. Francke.
(b) Fabian, Bernhard. (ed.). 1991 1991. 1991
Die englische Literatur. Bd. 1: Epochen, Formen. München: dtv.
(c) Seeber, Hans Ulrich (ed.). 1991 1991. 1991
Englische Literaturgeschichte. Stuttgart: Metzler.
(d) Sanders, Andrew. 1996 1996. 1996 The Short Oxford History of English Literature. Oxford: OUP.
(e) Alexander, Michael. 2000 2000. 2000 A History of English Literature. Basingstoke:
Palgrave.

Nieragden: ILCS 9
A A Detailed Detailed Account Account Account of of Major Major Periods Periods and and and Authors Authors in in English English English Literary Literary Literary History
History
Self Self-Study Self Study 3: : Carefully read through these passages passages and select
one one period period that that seem seems seem of particular particular interest interest to you you. you
The Old Old English English (or (or Anglo Anglo-Saxon) Anglo Saxon) Period Period (450-1066) refers to the literature produced from
the invasion of Celtic England by Germanic tribes in the first half of the fifth century to the
conquest of England in 1066 by William the Conqueror. During this period, written literature began
to develop from oral tradition, and in the 8th century poetry written in the vernacular
Anglo-Saxon (also known as Old English) appeared. One of the best-known texts Beowulf ,
a great Germanic epic poem. Two poets of the Old English Period who wrote on biblical and
religious themes and are still studied are Caedmon and Cynewulf .
The Middle English Period (1066-1500) consists of the literature produced in the four
and a half centuries between the Norman Conquest of 1066 and about 1500, when the
standard literary language, derived from the dialect of the London area, became recognizable.
Prior to the second half of the 14th century, vernacular literature consisted primarily
of religious writings. The second half of the fourteenth century produced the first great age
of secular literature including ballads, chivalric romances, allegorical poems, and a variety of
religious plays. Geoffrey Chaucer’s The Canterbury Tales is the most celebrated work of
this period; still studied are the anonymous Sir Gawain and the Green Knight, and Thomas
Malory's Morte d' Arthur .
While the English Renaissance began with the ascent of the House of Tudor to the
English throne in 1485, the English Lite Literary Lite
rary Renaissance Renaissance (1500 (1500-1660)
(1500 1660) began with English
humanists such as Sir Thomas More and Sir Thomas Wyatt. In addition, this period is generally
organised into four subsets: The Elizabethan Age, the Jacobean Age, the Caroline Age,
and the Commonwealth Period (also known as the Puritan Interregnum).
The Elizabethan Elizabethan Age coincides with the reign of Elizabeth I from 1558 to 1603. During
this time, medieval tradition was blended with Renaissance optimism. Lyric poetry,
prose, and drama were the major styles of literature that flowered during the Elizabethan
Age. Some important writers of the Elizabethan Age include, next to William Shakespeare,
Christopher Marlowe, Edmund Spenser, Sir Walter Raleigh, and Ben Jonson.
The Jacobean Age coincides with the reign of James I from 1603 to 1625. During
this time literature became sophisticated, sombre, and conscious of social abuse and rivalry.
The Jacobean Age produced rich prose and drama as well as the King James
translation of the Bible. Shakespeare and Jonson continued writing into this period whose most
significant writers are John Donne, Francis Bacon, and Thomas Middleton.
The Caroline Age coincides with the reign of Charles I from 1625 to 1649. The writers
of this age wrote with refinement and elegance. This era mainly produced a circle of
poets known as the "Cavalier Poets"; the dramatists of this age were the last to write in
the Elizabethan tradition.
The Commonwealth Period Period includes the literature produced during the rule of Puritan
leader Oliver Cromwell from 1949 to 1660. This period produced the political writings
of John Milton, Thomas Hobbes' political treatise Leviathan, and the prose of Andrew
Marvell. In September of 1642, the Puritans closed theatres on moral and religious
grounds. For the next eighteen years the theatres remained closed, accounting for the
lack of drama produced during this time period.
The Neoclassical Period (1660 (1660-1785)
(1660
1785) 1785) was much influenced by contemporary French literature,
which was in the midst of its greatest age. The literature of this time is known for its
use of philosophy, reason, skepticism, wit, and refinement. The period also marks the first
great age of English literary criticism.Much like the English Literary Renaissance, the
Neoclassical Period can be divided into three subsets: the Restoration, the Augustan Age,
and the Age of Sensibility.
The Restoration
Restoration Restoration (1660–1700) is marked by the restoration of the monarchy and the triumph
of reason and tolerance over religious and political passion. The Restoration produced
an abundance of prose and poetry and the distinctive comedy of manners known as
Restoration comedy. It was during the Restoration that John Milton published Paradise Lost

Nieragden: ILCS 10
and Paradise Regained. Other major literary writers of the era include John Dryden and
John Wilmot, 2 nd Earl of Rochester.
The Augustan Augustan Age (1700-1745) derives its name from the brilliant literary period
of Vergil and Ovid under the Roman emperor Augustus (27 B.C. - A.D. 14). In English
literature, this age refers to literature with the predominant characteristics of refinement,
clarity, elegance, and balance of judgement. Well-known writers of the Augustan Age
include Jonathan Swift, Alexander Pope, and Daniel Defoe. A significant contribution of
this time period included the release of the first English novels by Defoe, and the "novel
of character," Pamela, by Samuel Richardson in 1740.
During the Age Age of Sensibility Sensibility (1745-1785), literature reflected the worldview
of the Enlightenment and began to emphasize instict and feeling, rather than judgment
and restraint. A growing sympathy for the Middle Ages during the Age of Sensibility
sparked an interest in medieval ballads and folk literature. Another name for this period
is the Age of Johnson because the dominant authors of this period were Samuel Johnson
and his literary and intellectual circle. This period also produced some of the greatest
early novels of the English language, including Richardson's Clari sa (1748) and Henry
Fielding's Tom Jones (1749).
The Romantic Period (1785-1832) began in the late 18th century and lasted for ca. 50
years. In general, Romantic literature can be characterized by its personal nature, its stong
use of feeling, its abundant use of symbolism, and its exploration of nature and the supernatural.
In addition, the writings of the Romantics were considered innovative based on their
belief that literature should be spontaneous, imaginative, personal, and free. The Romantic
Period produced a wealth of authors including Samuel Taylor Coleridge, William Wordsworth,
Jane Austen, and Lord Byron. It was during the Romantic Period that Gothic literature was
born. Traits of Gothic literature are dark and gloomy settings and characters and situations that
are fantasic, grotesque, wild, savage, mysterious,and often melodramatic. Two of the most
famous Gothic novelists are Anne Radcliffe and Mary Shelley.
The Victorian Victorian Period began with the accession of Queen Victoria to the throne in 1837, and
lasted until her death in 1901. As it spans over six decades, the year 1870 is often used to
divide the era into "early Victorian" and "late Victorian." In general, Victorian literature deals
with the issues and problems of the day. Some contemporary issues that the Victorians
were concerned with include the social, economic, religious, and intellectual issues
and problems surrounding the Industrial Revolution, growing class tensions, the early feminist
movement, pressures toward political and social reform, and the impact of Charles
Darwin's theory of evolution on philosophy and religion. Some of the most recognized
authors of the Victorian era include Alfred Lord Tennyson, Elizabeth Barrett Browning, her
husband Robert, Matthew Arnold, Charles Dickens, Charlotte Brontë, George Eliot, and
Thomas Hardy.
In 1848, a group of English artists, including Dante Gabriel Rossetti, formed the "Pre Pre Pre- Pre
Ra Raphaelite Ra
phaelite Brotherhood
Brotherhood." Brotherhood
It was the aim of this group to return painting to a style of
truthfulness, simplicity, and religious devotion that had reigned prior to Raphael and the
high Italian Renaissance. Rossetti and his literary circle, which included his
sister Christina, incorporated these ideals into their literature (until 1860).
The Aestheticism and Decadence movement movement grew out of the French movement
of the same name. The authors of this movement encouraged experimentation and held
the view that art is totally opposed to "natural" norms of morality. This style of literature
opposed the dominance of scientific thinking and defied the hosility of society to any art
that was not useful or did not teach moral values. It was from this movement that the
phrase art for art's sake emerged. The best-known author here is Oscar Wilde.
The Edwardian Edwardian Period Period is named for King Edward VII and spans the time from Queen
Victoria's death (1901) to the beginning of World War I (1914). During this time, the British
Empire was at its height and the wealthy lived lives of materialistic luxury. However, four
fifths of the English population lived in squalor. The writings of the Edwardian Period reflect
and comment on these social conditions. For example, writers such as George Bernard
Shaw and H.G. Wells attacked social injustice and the selfishness of the upper classes. Other
writers of the time include William Butler Yeats, Joseph Conrad, Rudyard Kipling, Henry James,
and E.M. Forster .

Nieragden: ILCS 11
The Georgian Period Period refers to the period of British Literature that is named for the reign
of George V (1910-36). Many writers of the Edwardian Period continued to write during the
Georgian Period . This era mainly produced a group of poets known as the Georgian poets.
Georgian poetry tends to focus on rural subject matter and is traditional in technique and
form.
The Modern Period applies to British literature written between the end of World War I
(1914) and the beginning of World War II (1939). The authors experimented with subject
matter, form, and style and have produced achievements in all literary genres. They proposed
a radical breaks with traditional modes of Western art, thought, religion, social conventions,
and morality. Poets of the period include Yeats, T.S. Eliot, and Dylan Thomas. Novelists
include James Joyce, D.H. Lawrence, and Virginia Woolf .
Following World War II (1939-1945), the Postmodern Period developed. Postmodernism blends
literary genres and styles and attempts to break free of modernist forms. While the British
literary scene at the turn of the new millenium is crowded and varied, the authors still fall
into the categories of modernism and postmodernism. However, with the passage of time the
Modern era may be reorganized and expanded.
FYI FYI 11:
1
: American Lite Literary Lite
rary History History in (rough...) Overview
1607-1776: Colonial Period
1765-1790: The Revolutionary Age
1775-1828: The Early National Period
1828-1865: The Romantic Period (aka: Ame. Renaissance / Age of Transcendentalism)
1865-1900: The Realistic Period
1900-1914: The Naturalistic Period
1914-1939: American Modernist Period
1920s: Jazz Age, Harlem Renaissance
1920s, 1930s: The "Lost Generation"
1939-present: The Contemporary Period
1950s: Beat Writers
1960s, 1970s: Counterculture
In addition, American Literature recognizes writers of specific origins:
African-American Native American Asian-American Hispanic-American
FYI FYI 22:
2
: And don't forget: English is the literary language of roughly half the globe and
is is constantly constantly contributing contributing to to the the body body body of of 'New 'New Li Literatures Li teratures in in English'....
English'....

Genre Genre 1: 1: Theory Theory & & & Terminology
Terminology
1.1 1.1 Communicative Situations of Main Literary Genres
1. 1. 1. POETRY = "Lyrik; Poesie; Dichtung" (s.pp. 13-16)
EXTERNAL LEVEL OF NONFICTIONAL COMMUNICATION
INTERNAL LEVEL OF POEM
SPEAKER / PERSONA ⇒ ADDRESSEE
Nieragden: ILCS 12
AUTHOR (= POET) ⇒ READER
2. 2. DRAMA DRAMA = "Dramatik; Schauspiel; Theater" (s.pp. 17 17-20 17
20 20) 20
EXTERNAL LEVEL OF NONFICTIONAL COMMUNICATION
INTERNAL LEVEL OF ACTION
CHARACTER ⇔ CHARACTER
AUTHOR (= PLAYWRIGHT) ⇒ READER / SPECTATORS*
3. 3. NARRATIVE
ARRATIVE = "Epik; Erzählliteratur" (s. s. pp. pp. 20 20-22 20 22 22) 22
EXTERNAL LEVEL OF NONFICTIONAL COMMUNICATION
INTERNAL LEVEL OF FICTIONAL MEDIATION (= DISCOURSE)**
***
INTERNAL LEVEL OF ACTION (= STORY)***
CHARACTER ⇔ CHARACTER
NARRATOR ⇒ NARRATEE
AUTHOR (= NOVELIST) ⇒ READER
*= DRAMA IS, BY STANDARD DEFINITION, SEEN AND HEARD IN A COLLECTIVE
RECEPTION PROCESS
** **= **
HOW IT IS TOLD
*** ***= ***
WHAT IS TOLD
** **

1.2 1.2 Poetry: Elementaries of Rhyme
Nieragden: ILCS 13
1. RHYME TYPES
1.1. Pure rhyme [REINER REIM]
Words with perfect identity of sound in stressed syllables. It is also known as perfect rhyme.
“Two roads diverged in a yellow wood ood ood, ood end rhyme [ENDREIM]
And sorry that I could not travel both,
And be one traveler, long I stood ood ood
And looked down as far as I could ould ould” ould
(Robert Frost, “The Road Not Taken”)
“I am the daughter aughter of Earth and Water ater ater, ater internal rhyme [BINNENREIM]
And the nursling of the Sky;
I pass through the pores ores of the ocean and shores ores ores” ores (Percy B. Shelley, “The Cloud”)
“Then all averred, I had killed the bird identical rhyme [IDENTISCHER REIM]
That brought the fog and mist mist. mist
‘Twas right, said they, such birds to stay,
That bring the fog and mist mist” mist
(Samuel Coleridge, “The Rime of the Ancient Mariner”)
1.2 Imperfect Rhyme [UNECHTER REIM]
Alliteration [ALLITERATION]
The repetition of a consonant at the beginning of neighbouring words (= initial half rhyme).
“Five miles meandering with a mazy motion” (Samuel Coleridge, “Kubla Khan”)
“Do not go gentle into that good night” (Dylan Thomas, “Do Not Go Gentle Into That Good Night”)
Assonance [ASSONANZ]
The repetition of a vowel at the beginning or in stressed syllables of neighbouring words (= half
rhyme).
“A miner on the dole,
with nowhere to go” (Bryn Griffiths, “On the Dole”)
“twice five miles of fertile ground” (Samuel Coleridge, “Kubla Khan”)
Consonance [KONSONANZ]
The repetition of the same conso consonant conso
nant before and/or after differing stressed vowels
“It seemed that out of battle I esc sc scaped sc
Down some profound dull tunnel, long since sc scooped sc
Through granites which titanic wars had gr groined. gr
Yet also there encumbered sleepers gr groaned” gr (Wilfried Owen, “Strange Meeting”)
Assonance, alliteration and consonance are very frequent in idioms (‘as dead as a doornail’; ‘cold as
a stone’), advertising (‘Guinness is good for you’; ‘fish n’ chips’; ‘Beanz nz meanz nz Heinz nz nz’), nz tongue twisters
(‘Peter Piper picked a peck of pickled pepper’; ‘Round the rugged rock the ragged rascal ran’),
and onomatopoetic language (‘kn kn knick kn ck ck-kn ck kn knack kn ck ck’). ck
Eye Rhyme [AUGENREIM]
Words which look like a pure rhyme, but only have identical spellings, not identical sounds (e.g.
great/meat; find/wind).
“Dull would he be of soul who could pass by
A sight so touching in its majesty ty ty” ty
(William Wordsworth, “Composed Upon Westminster Bridge)
“Strong gongs groaning as the guns boom far ar ar, ar
Don John is going to war ar ar” ar
(Gilbert K. Chesterton, “Lepanto”)

2. RHYME SCHEMES
Alternate rhyme [KREUZREIM]
(a b a b)
“If I could write the beauty of your eyes
and in fresh numbers number all your graces graces
The age to come would say, ‘This poet lies lies; lies
Such heavenly touches ne’er touched earthly faces faces” faces (Shakespeare, “Sonnet 17”)
Enclosed rhyme [UMARMENDER REIM]
(a b b a)
“Call us what you will, we are made by such love love; love
Call her one, me another fly fly, fly
We’re tapers too, and at our own cost die die, die
And we in us find th’eagle and the dove dove” dove
(John Donne, “The Canonization”)
Couplets [PAARREIM]
(a a b b c c)
Nieragden: ILCS 14
“Sweet smiling village, loveliest of the lawn, lawn
Thy sports are fled, and all thy charms withdrawn drawn drawn; drawn
Amidst thy bowers the tyrant’s hand is seen seen, seen
And desolation saddens all thy green green” green (Oliver Goldsmith, “The Deserted Village”)
Sonnet [SONETT]
A lyric poem that consists of 14 lines in a single stanza, often used to express personal feelings of
love, religious devotion, metaphysical anguish, and lamentation for the dead. In English poetry, the
most important patterns are:
(a b b a a b b a c d c d c d) 1 octave; 1 sestet John Milton; William
Wordsworth, Dante G. Rossetti
(a b a b b c b c c d c d e e) 3 quatrains; 1 couplet Edmund Spenser
(a b a b c d c d d e d e g g) 3 quatrains; 1 couplet William Shakespeare,
John Donne, W.H. Auden,
Rhyme royal
(a b a b b c c) Geoffrey Chaucer, Troilus and Criseyde
Spenserian stanza
(a b a b b c b c c) Edmund Spenser, James Thomson, John Keats
Terza rima
(a b a b c b c d c) Thomas Wyatt, Jon Milton, Robert Browning, T.S.
Eliot
Ottava rima
(a b a b a b c c) Thomas Wyatt, Lord Byron
Masculine rhyme [MÄNNLICHE KADENZ]
The last syllable of the rhyming word (= mostly monosyllabic) is stressed.
"bright - light; wood - stood; three - tea; june - moon; desire – fire"
Feminine rhyme [WEIBLICHE KADENZ]
The last syllable of the rhyming word (= mostly polysyllabic) is unstressed.
"brightly - lightly; mother - brother; daughter - water; ending - bending; seventeen - Levantine; comparison
– garrison"

1.3 1.3 Poetry: Poetry: Rhetorical Rhetorical Figures
Figures
Nieragden: ILCS 15
Die Die wi wichtigsten wi wi chtigsten rhetorischen rhetorischen Figuren Figuren 1 1 (Central (Central figures figures of speech) speech) DEFINITIONS
(A) PHONOLOGISCHE FIGUREN (PHONOLOGICAL FIGURES)
Alliteration (alliteration) Gleicher Anlaut aufeinderfolgender Wörter
Assonanz (assonance) Häufung gleicher Vokale in betonten Silben
Konsonanz (consonance) Häufung gleicher Konsonanten in Umgebung verschiedener
betonter Vokale
Onomatopoesie (onomatopoiea) Lautmalerische Nachahmung der Geräusche, die das Geschilderte
typischerweise hervorbringt
(B) MORPHOLOGISCHE FIGUREN (MORPHOLOGICAL FIGURES)
Anapher (anaphora) Wortwiederholung am Anfang mehrerer aufeinanderfolgender
Verse (Sätze, Absätze)
Geminatio (geminatio) Unmittelbare Wiederholung eines Wortes
Epanalepse (epanalepsis) Wortwiederholung am Anfang und Ende (eines Satzes, Verses,
Absatzes)
Epipher (epiphora) Wortwiederholung am Ende mehrerer aufeinanderfolgender
Verse (Sätze, Absätze)
Polyptoton (polyptoton) Wiederaufnahme eines Wortes in verschiedenen Flexionsformen
(C) SYNTAKTISCHE FIGUREN (SYNTACTIC FIGURES)
Asyndeton (asyndeton) Unverbundene (ohne Konjunktionen) Reihung mehrerer
referenzgleicher Attribute
Chiasmus (chiasm) Spiegelbildliche Anordnung identischer syntaktischer Strukturen;
Kreuzstellung (abc; cba)
Ellipse (ellipsis) Unvollständiger Satzbau, d.h. Weglassen von spezifischen
Elementen
Parallelismus (parallelism) Wiederholung identischer syntaktischer Strukturen (abc; abc)
Polysyndeton (polysyndeton) Verbundene (mit Konjunktionen) Reihung mehrerer
referenzgleicher Attribute
Zeugma (zeugma) Ein Verb regiert mehrere, semantisch nicht ‘zusammenpassende’
Objekte
(D) SEMANTISCHE FIGUREN (SEMANTIC FIGURES)
Euphemismus (euphemism) Beschönigende Beschreibung
Hendiadyoin (hendiadys) Zwei referenzähnliche bzw. -identische Ausdrücke durch Konjunktion
verbunden zur Benennung eines Sachverhalts
Katachrese (catachresis) ‘Unpassende’ Kongruenz von Subjekt und Verb; führt zu
‘mißglückten’ sprachlichen Bildern
Metapher (metaphor) Verkürzter, impliziter Vergleich; Verknüpfung zweier
divergierender Bildbereiche
Metonymie (metonymy) Ersetzung durch kausal, spatial, temporal, logisch o.ä.
verwandten Begriff
Oxymoron (oxymoron) Unmittelbare Verbindung einander widersprechender Ausdrücke
Personifikation (personification) Belebung/Vermenschlichung eines Dings oder Abstraktums
Pleonasmus (pleonasm) (Überflüssige) Häufung referenzähnlicher oder -identischer
Ausdrücke
Simile (simile) Ausführlicher, expliziter Vergleich; Verknüpfung zweier
divergierender Bildbereiche
Synästhesie (synesthesia) Vermischung verschiedener Sinneswahrnehmungen
Synekdoche (synecdoche) Ersetzung durch einen engeren, partikularisierenden (pars pro
toto) oder weiteren, generalisierenden (totum pro parte) Begriff
(E) PRAGMATISCHE FIGUREN (PRAGMATIC FIGURES)
Apostrophe (apostrophe) Anrufung (und damit Personifikation) eines Dings oder
Abstraktums
Ironie (irony) Aussage, die das Gegenteil der wörtlichen Bedeutung meint
rhetorische Frage (rhetorical question) (Überflüssige) Frage, deren Antwort auch beim Befragten als
selbstverständlich vorausgesetzt wird

Nieragden: ILCS 16
Die Die wichtigsten wichtigsten rhetorischen rhetorischen rhetorischen Figuren Figuren 2 2 2 (Central (Central figures figures of of speech) speech)
EXAMPLES
EXAMPLES
(A) PHONOLOGISCHE FIGUREN (PHONOLOGICAL FIGURES)
Alliteration (alliteration) Love’s Labour’s Lost (Shakespeare)
Assonanz (assonance) mad as a hatter (Lewis Carroll)
Konsonanz (consonance) Having seen all things red/Their eyes are rid (Wilfred Owen)
Onomatopoesie (onomatopoiea) The moa oa oan oa of doves in immemorial elms/And murmuring of
innumerable bee ee ees ee (Alfred Lord Tennyson)
(B) MORPHOLOGISCHE FIGUREN (MORPHOLOGICAL FIGURES)
Anapher (anaphora) Help! Help! I need somebody/Help! Help! Not just anybody/Help! Help! You
know I need someone / Help! (Paul McCartney/John Lennon)
Geminatio (geminatio) Tiger Tiger, Tiger tiger tiger, tiger
burning bright (William Blake)
Epanalepse (epanalepsis) Cassius Cassius from bondage will deliver Cassius Cassius (Julius Caesar)
Epipher (epiphora) Whirl your pointed pines pines/Splash pines your great pines pines (Hilda Doolittle)
Polyptoton (polyptoton) And night doth nightly make grief’s strength seem stronger
(Sonnet 28)
(C) SYNTAKTISCHE FIGUREN (SYNTACTIC FIGURES)
Asyndeton (asyndeton) O, what a noble mind is here o’erthrown/The courtier’s, , soldier’s,
, , scholar’s, , , eye, tongue, sword (Hamlet)
Chiasmus (chiasm) Fair Fair is is foul foul, foul and foul foul is fair (Macbeth)
Ellipse (ellipsis) [The] [The] [The] Pub clock [was] five minutes fast. Time [was] going on.
[Its] [Its] Hands [were] moving. [It was] was] Two. [It was] Not yet [two] [two]. [two]
(James Joyce)
Parallelismus (parallelism) O O well well for for for the the the fisherman’s boy/That That he shouts with his sister at
play/O O well well for for the the sailor lad/That That he he sings in his boat on the
bay! (Alfred Lord Tennyson)
Polysyndeton (polysyndeton) When you are old and and grey and and full of sleep (William Butler
Yeats)
Zeugma (zeugma) Time Time and her aunt moved slowly (Jane Austen)
(D) SEMANTISCHE FIGUREN (SEMANTIC FIGURES)
Euphemismus (euphemism) Remember me when I am gone gone away away/Gone away
Gone far far away away away into the the
silent silent land land (Christina Rosetti)
Hendiadyoin (hendiadys) The pitch pitch and and height height of his degree (Richard III)
Katachrese (catachresis) for supple knees knees knees feed feed arrogance (Troilus and Cressida)
Metapher (metaphor) Sometime too hot the eye of heaven heaven [= sun] shines (Sonnet
18)
Metonymie (metonymy) The The crown crown [= the monarchy] will find an heir (The Winter’s
Tale)
Oxymoron (oxymoron) Feather Feather of of lead
lead lead, bright bright smoke
smoke smoke, cold cold fire
fire fire, sick sick sick health health! health (Romeo
and Juliet)
Personifikation (personification) Because I could not stop for Death Death/He Death
He He kindly stopped for me
(Emily Dickinson)
Pleonasmus (pleonasm) They waded through red red blood blood to the knee (Thomas Rymer)
Simile (simile) I wandered lonely lonely as as as a a cloud cloud (William Wordsworth)
Synästhesie (synesthesia) The eye eye of man hath not heard heard, heard
the ear ear of man hath not seen seen
[...] what my dream was (A Midsummer Night’s Dream)
Synekdoche (synecdoche) The western wave wave [= sea] was all aflame (Samuel Coleridge)
(E) PRAGMATISCHE FIGUREN (PRAGMATIC FIGURES)
Apostrophe (apostrophe) O wild West Wind Wind, Wind
thou breath of Autumn’s being (Percy
Bysshe Shelley)
Ironie (irony) For Brutus is an honourable man (Julius Caesar)
rhetorische Frage (rhetorical question) Hath Hath not not a a Jew Jew eyes? eyes? Hath Hath not not a a Jew Jew hands, hands, organs, organs, dimen- dimen
si sions, si
ons, senses, senses, af affections, af fections, passions?
fections, passions? (The Merchant of Venice)

1. 1.4 1. DDrama
D Drama
rama and and Drama Drama Analysis Analysis: Analysis : Key Key Terms
Terms
Nieragden: ILCS 17
The basic insights from drama history and theory presented below can, for the largest
parts, be transferred to other forms of performance-related verbal art as well, i.e. the
musical, the opera and, of course, the movie (s. s. model 2 2 on on on p p 12 above above). above Section 4
can be applied to narrative texts (s. 1.5 below) just as well; section 6 is of special value
to everybody with an interest in structural fim analysis.
1. Elements
dialogue dialogue dialogue A sequence of conversational 'turns' exchanged between two or more speakers or
'interlocutors'. The more specific term duologue is occasionally used to refer to a dialogue
between exactly two speakers.
monologue monologue A long speech in which a character talks to him- or herself. Often, only one
character is on stage during a m., in which case the m. becomes a soliloquy (from Latin
solus, 'alone'). M.s and soliloquies have a number of important dramatic functions: they
foreground the monologist/soliloquist; they provide a transition (or bridge) between scenes;
they open a source of information and exposition; and they let the audience know something
of the private thoughts, motives, and plans of characters.
aside aside A remark that is not heard by the other characters on stage. There are three types of
a.: monological, dialogical, and ad spectatores. A monological a. is a remark that occurs in a
dialogue, but is not meant to be heard by any of the speaker's interlocutors (it is 'monological'
because it is basically a self-communication). A dia dialogical dia
logical logical a. a. in contrast, is a remark that
is addressed to a specific hearer, but is heard by nobody else present (i.e., by nobody but
the intended hearer). Finally, an a. a. ad ad ad ad spectatores
spectatores spectatores
spectatores is addressed directly to the audience and
thus is an important technique of breaking the illusion of the play.
dramatis dramatis personae personae The list of characters. This is an extratextual element usually accompanied
by a brief explicit characterization indicating role, social status, etc. ("JELLABY, a butler,
middle-aged", Stoppard, Arcadia). Often the characters are simply listed in their order of
appearance, but other arrangements are also frequent. For instance, the dramatis personae
may reflect the hierarchy of an aristocratic society, listing the king and his relatives first, then
the dukes and earls, and then the common citizens.
stage stage direction direction A descriptive or narrative passage of secondary text (usually set in italics)
describing the set, scenery, props, costumes, and the nonverbal behavior of the characters
(such as their movements). Ideally, in performance, a s.d. is translated into a property or a
behavioral pattern which is directly perceptible to the audience. Authors' practice in the use
of long or short, narrative or descriptive, strictly prescriptive or merely suggestive stage directions,
varies widely.
irony irony A term with a range of meanings, all of them involving some sort of discrepancy or incongruity.
I. suggests the difference between appearance and reality, between expectation
and fulfillment, the complexity of experience. 1: Verbal II.
I
- the opposite is said from what is
intended. / 2: Dramatic II.
I
- the contrast between what a character says and what the reader
knows to be true; can be comi comic comi
or tragic tragic. tragic
/ 3: I. of situation - discrepancy between what is
and what would seem appropriate.
2. Types
A play is a plurimedial narrative form designed to be staged in a public performance: it
uses both auditory and visual media: a play's audience has to use their eyes as well as
their ears (a novel, in contrast, is a 'monomedial' form). A play is also a special form of
narrative form because it presents a story.
absolute absolute drama drama A type of drama that does not employ a level of fictional mediation; a play
that makes no use of narrator figures, chorus characters, story-internal stage managers, or
any other 'epic' elements (to be specified in more detail below). The audience witnesses the
action of the play as if it happened 'absolutely', i.e., as if it existed independently of either
author, or narrator, or, in fact, the spectators themselves.
closet closet closet drama drama drama A play that is primarily designed to be read.

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epic epic drama drama drama In contrast to the absolute drama, this is one that has 'epic features' or makes
use of 'epic devices', mainly a narrator figure whose presence creates a distinct, fictional
level of communication complete with addressee, setting, and time line.
tragedy tragedy In Aristotle's definition, t. is the imitation in dramatic form of an action that is serious
and complete, with incidents arousing pity and fear wherewith it effects a catharsis of such
emotions. The language used is pleasurable and throughout appropriate to the situation in
which it is used. The chief characters are noble personages ("better than ourselves," says
Aristotle) and the actions they perform are noble actions..
comedy comedy The essential difference between tragedy and c. is in the depiction of human nature:
tragedy shows greatness in human nature and human freedom whereas c. shows human
weakness and human limitation. The norms of c. are primarily social; the protagonist is
always in a group or emphasizes commonness. A tragic hero possesses overpowering individuality
- so that the play is often named after her/him (Antigone, Othello); the comic protagonist
tends to be a type and the play is often named for the type (The Misanthrope, The
Alchemist, The Brute). Plausibility is not usually the central characteristic (cause-effect progression)
but coincidences, improbable disguises, mistaken identities make up the plot. The
purpose of c. is to make us laugh and at the same time, help to illuminate human nature and
human weaknesses. Conventionally, comedies have a happy ending. Accidental discovery,
acts of divine intervention (deus deus ex ex machina machina), machina or sudden reforms are common devices.
3. 'People'
character character Not a real-life person but only a 'paper being', a being created by an author and
existing only within a fictional text, usually on the level of action. Example: the character
Hamlet in the play Hamlet by Shakespeare.
flat/round flat/round character character A f.c. is known by one or two traits, and remains static from the beginning
of the plot to the end. A r.c. is complex with many features and dynamic, i.e. undergoes
permanent change. To be credible, this change must be within the possibilities of the character,
sufficiently motivated, and allowed sufficient time for change.
protagonist/antagonist protagonist/antagonist The p. is the central character, sympathetic or unsympathetic. The
forces working against her/him, whether persons, things, conventions of society, or traits of
their own character, are the as.
stock stock character character character A stereotyped, conventionalized character type whom the audience recognizes
immediately (e.g. the country bumpkin, the absent-minded professor, the mad scientist,
the cruel mother-in-law, the heartless banker, the shrewish wife)
4. Characterisation (adapted from Manfred Pfister. 1988. The Theory and Analysis of Drama. Cambridge: CUP [orig
1977: Das Drama. Theorie und Analyse. München: Fink])
The most relevant characterisation techniques are:
AUTHORIAL
AUTHORIAL AUTHORIAL
FIGURAL
FIGURAL
EXPLICIT EXPLICIT description in secondary text /
telling names
IMPLICIT IMPLICIT correspondence and contrast relations
auto-commentary /
altero-commentary
NON NON-VERBAL
NON VERBAL VERBAL: VERBAL physiognomy; facial expression;
gestures; masks & costume;
properties; setting; behaviour
VERBAL VERBAL: VERBAL voice; dialect; sociolect; idiolect;
jargon; register; style
5. Action
action action The sum of events (or action units) occurring on a play's level of action. Sometimes it
is possible to distinguish the 'primary story line' from other 'external' events that take place
before the beginning or after the end of the play.
point point of of attack attack The event chosen to begin the play's action. There are three main options: (i)
a play beginning at an 'early' p.o.a. or ab ab ovo ovo (literally, 'from the egg') typically begins with a
state of equilibrium or non-conflict; (ii) for a beginning medias medias medias in in in res res ('in the midst of things'),
the p.o.a. is set close to the climax of the action; and (iii) for a beginning ultimas in res ('with
the last event'), the p.o.a. occurs after the climax and near the end.

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unity unity of of time, time, place, place, and and action action ("the ("the unities") unities") Aristotelian 'presciption' of limiting the time,
place, and action of a play to a single spot and a single action over the period of 24 hours
6. Structure (following the classic Technique of the Drama (1863) by Gustav Freytag).
In the traditional five-act tragedy (as established by Horace 50 BC), we tend to meet a recurrent
organization of moments in the plot:
EXPOSITION EXPOSITION The introduction of time, place, characters and background of the play's action.
At this point the protagonist and antagonist are introduced. Although the e. is usually expected
as an isolated block situated at the beginning of a play, it has been suggested that
one should distinguish a type of 'isolated e. in the initial position' from an 'integrated e.',
which, distributed in a number of smaller units across the whole text, successively and cumulatively
informs the recipient about the play's background matter.
COMPLICATION COMPLICATION A point usually found towards the end of the exposition, where the “major
dramatic question” is raised. This is the question that has to be resolved for the play to
reach a credible resolution. In tragedy, it is hubris ('exaggerated pride or insolence') which
leads the protagonist to break a moral law, attempt vainly to transcend normal limitations, or
ignore a divine warning. He hence commits hamartia hamartia ('error'), i.e. a tragic flaw which will result
in his misfortunes.
CLIMAX CLIMAX The point of highest emotional involvement in the play where it seems as if the action
reverses direction, and thus is turned from rising into falling falling. falling
The protagonist here experiences
anag anagnorisis
anag norisis ('recognition'), i.e. a kind of self-understanding, or makes a discovery
which leads to the pe peripeteia pe
ripeteia ('reversal') of fortunes for him, from failure to success (comedy)
or success to failure (tragedy).
FALLING FALLING ACTION ACTION Less intense events and untying of minor complications, displaying the failing
fortunes of the hero. At this point, usually hard on the heels of the climax, the “major
dramatic question” is answered, thus is also known as the resolution resolution. resolution
The latter part of the
falling may contain a retardation retardation, retardation
i.e. an element which delays the catastrophe and (falsely)
seems to offer a way of 'escape' for the hero. This is also known as the 'moment of final
suspense' for the audience.
DÉNOUEMENT DÉNOUEMENT ('the untying of the knot'): The point at which tension slackens after the climax
at the end of the play. It can also be a portion at the end of the plot that reveals the final outcome
of its conflicts or the solution of its mysteries. Generally it is the point in the structure
where all remaining loose end are tied up and so closure closure closure is about to be brought to the play.
In Aristotelian tragedy, this comes in the form of a catastrophe for the hero which, in turn,
entails a catharsis ('cleansing') for the audience, a purgation of emotions through pity and
terror.
CLOSURE CLOSURE The type of conclusion that ends a text. Tightly plotted texts often have a 'recognition
scene' (in which the protagonist finally recognizes the true state of affairs), and in the
course of the dénouement the conflict is usually resolved by marriage, death, or some other
aesthetically or morally satisfactory outcome. Plays that present an "unambiguous solution
in the end" exemplify a 'closed form' of drama; many modern plays, however, are openended,
simply stop, or conclude enigmatically and ambiguously, and in this lack of typical
closure patterns are known as 'open forms' forms'. forms'
As is the case with the three unities (see section 5), modern theatre rarely conforms to
these rules anymore. Plays may consist of one act only, or three acts, etc. However,

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the basic idea of rising and falling action, turning points and catastrophes are still to be
observed in most plays.
1.5 1.5 Narr Narratology Narr atology and and Narrative Narrative: Narrative : Key Key Terms
Terms
Narratology investigates both parts of any narrative text, i.e. the levels of story and of
discourse (s. s. model model 3 3 on on 12 above above): above
story-based narratology:
• existents (=characters characters & setting setting) setting
• events (=character-initiated actions actions & and happenings (=natural phenomena: disasters,
earthquakes, weather, landscapes, etc.))
discourse-based narratology:
• narrative narrative situation situation (s. below)
• focalisation ocalisation
• temporal temporal ordering ordering (s. below)
• creation creation of of suspense
suspense
• creation creation of of empathy
empathy
1. Narrative Situations
AUTHORIAL AUTHORIAL NARRATIVE NARRATIVE SITUATION ====WE WE WE WE ARE ARE ARE ARE TOLD TOLD TOLD TOLD WHAT WHAT WHAT WHAT HAP HAPPENED HAP HAPPENED
PENED PENED TO TO TO TO JJJJACK ACK ACK ACK AND AND AND AND JJJJILL ILL ILL ILL
told by a narrator who is absent from the story, i.e., does not appear as a character in the
story. The authorial narrator thus tells a story involving 'other people'. An authorial narrator
sees the story from an outsider's position, often a position of absolute, 'god-like' authority
that allows him to know everything about the story's world and its characters. He has om-
niscience niscience (access to all characters’ thoughts and perceptions) and omnipresence omnipresence (ability to
move freely between locations and points in time), can comment on or evaluate all
charecters' attitudes and behaviour. In so-called meta meta-fictional
meta fictional / self-referential passages
(or whole narratives) he can also intervene, reflect upon his own function, or appeal to the
reader directly. In these cases, he would thus commit a break breaking break
ing of of of the the illusion illusion. illusion
EX: Willa Cather, “Neighbor Rosicky” (1902)
He was a very simple man. He was like a tree that has not many roots, but one tap-root that that goes
down deep. He subscribed for a Bohemian paper printed in Chicago, then for one printed in Omaha.
His mind got farther and farther west. He began to save a little money to buy his liberty. When he was
thirty-five, there was a great meeting in New York of Bohemian athletic societies, and Rosicky left the
tailor shop and went home with the Omaha delegates to try his fortune in another part of the world.
EX: Jerome D. Salinger, “A Perfect Day for Bananafish” (1953)
He glanced at the girl lying asleep on one of the twin beds. Then he went over to one of the pieces of
luggage, opened it, and from under a pile of shorts and undershirts he took out an Ortgies calibre
7.65 automatic. He released the magazine, looked at it, then reinserted it. He cocked the piece. Then
he went over and sat down on the unoccupied twin bed, looked at the girl, aimed the pistol, and fired
a bullet through his right temple.
FIRST FIRST-PERSON FIRST PERSON NARRATIVE NARRATIVE SIT SITUATION
SIT UATION =JACK =J =J =JACK
ACK ACK TELLS TELLS TELLS TELLS FROM FROM FROM FROM MEMOR MEMORY MEMOR MEMORY
Y Y WHAT WHAT WHAT WHAT HAPPENED HAPPENED HAPPENED HAPPENED TO TO TO TO HIM HH
HIM
IM IM AND AND AND AND JJJJILL ILL ILL ILL
told by a narrator who is present as a character in his/her story; it is a story of events s/he
has experienced him- or herself, hence a story of personal experience. So the individual
who acts as a narrator (narrating narrating narrating II)
I
is also a character (experiencing experiencing experiencing II)
I
on the level of action;
between these there exists a specific degree of narrative distance distance. distance
By definition, access
to consciousness, feelings and perceptions is restricted to the narrator alone (no

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omniscience) who, moreover, cannot have simultaneous presence in various locations (no
omnipresence). In sum, this form of narration is very often marked as unreliable, because
the narrator's memory may be incomplete, distorted, blurred or strategically employed. If
the narrator is also the main character of his/her own story, s/he is an I-as as as-[sole] as [sole] protago-
nist nist; nist if s/he is one of the minor characters, an I-as as as-[uninvolved]
as [uninvolved] witness witness. witness
EX: Daniel Defoe, Roxana (1724)
I was not pleas’d with this Part at-all, for I had no-mind to let him go neither; and yet I had no-mind
to give him such hold of me as he wou’d have had; and thus I was in a kind of suspence, irresolute,
and doubtful what Course to take. I was in the House with him, as I have observe’d, and I
saw evidently that he was preparing to go back to Paris; and particularly, I found he was remitting
Money to Paris, [...]
EX: William Golding, “Miss Pulkinhorn” (~1952.)
This is an indecent story. It trespasses on the privacies of two most unfortunate people. Yet I was
woven into it and can’t escape my knowledge nor partial responsibility for what happened. What
mercy we all need! Now I look back after all these years I can feel nothing but remorse and shame
for my lack of wit; and pity for them, pity for us all.
EX: Roddy Doyle, the woman who walked into doors (1996)
For seventeen years. There wasn’t one minute when I wasn’t afraid, when I wasn’t waiting. Waiting
for him to go, waiting for him to come. Waiting for the fist, waiting for the smile. I was brainwashed
and braindead, a zombie for hours, afraid to think, afraid to stop, completely alone. I sat
at home and waited. I mopped up my own blood. I lost all my friends, and most of my teeth. [...]
He demolished me. He destroyed me. And I never stopped loving him. I adored him when he
stopped. I was grateful, so grateful, I’d have done anything for him. I loved him. And he loved me.
FIGURAL FIGURAL FIGURAL NARRATIVE NARRATIVE SI SITUATION
SI SITUATION
TUATION ====WE WE WE WE ARE ARE ARE ARE WITNESSING WITNESSING WITNESSING WITNESSING WH WHAT WH WHAT
AT AT IS IS IS IS HAPPENING HAPPENING HAPPENING HAPPENING TO TO TO TO JJJJACK ACK ACK ACK
told not by an individualized narrator, but rather an anonymous voice that is not feasible as
a person(ality), does not comment, generalize or evaluate and hence has a low degree of
explicitness. The presentation of individual and subjective sensory perceptions, thoughts,
and states of mind – often in stream stream-of stream
of of-con of con consciousness
con sciousness or interior interior monologues
monologues monologues techniques
appears to be unmediated, coming directly from the internal perspective of a character
who acts as personal medium or centre of orientation (’reflector ’reflector figure’ figure’). figure’
EX: James Joyce, A Portrait of the Artist as a Young Man (1916)
But Mr Harford was very decent and never got into a wax. All the other masters got into dreadful
waxes. But why were they to suffer for what fellows in the higher line did? Wells had said that they
had drunk some of the altar wine out of the press in the sacristy and that it had been found out
who had done it by the smell. Perhaps they had stolen a monstrance to run away with it and sell it
somewhere. That must have been a terrible sin, to go in there quietly at night, to open the dark
press and steal the flashing gold thing into which God was put on the altar in the middle of flowers
and candles at benediction while the incense went up in clouds at both sides [...].
EX: Virginia Woolf, To the Lighthouse (1927)
They would be at the Lighthouse by lunch time she supposed. But the Wind had freshened, and,
as the sky changed slightly and the sea changed slightly and the boats altered their positions, the
view, which a moment before had seemed miraculously fixed, was now unsatisfactory. The wind
had blown the trail of smoke about; there was something displeasing about the placing of the
ships.
EX: Fay Weldon, “Weekend” (1978)
Midnight. Good night. Weekend guests arriving in the morning. Seven for lunch and dinner on
Saturday. Seven for Sunday breakfast, nine for Sunday lunch. (‘Don’t fuss, darling. You always
make such a fuss’: Martin) Oh, God, forgotten the garlic squeezer. That means ten minutes with
the back of a spoon and salt. Well, who wants lumps of garlic? No one. Not Martin’s guests. Martin
said so. Sleep.

In sum:
Potential Function of Narrators (s. also model on p. X above)
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2. Temporal Ordering
ORDER ORDER
WHEN WHEN? WHEN sequence of events
Chronological Presentation of events in the order of their occurrence (1, 2, 3, 4, 5, 6)
Anachronical Breaking the order of occurrence (5, 2, 3, 1, 4, 6)
flashback; retrospection; analepsis (Rückblendung, -wendung)
flashforward; anticipation; prolepsis (Vorausdeutung, -wendung)
Achronical Events are impossible to order in occurrence
DURATION
DURATION DURATION HOW HOW LONG LONG? LONG LONG story time (erzählte Zeit) vs. discourse time (Erzählzeit)
Scene st = dt dialogue of characters
Summary st > dt 'They lived happily for the next 15 years'.
Stretch st < dt characters' insights, perceptions, reflections
FREQUENCY FREQUENCY HOW HOW OFTEN
OFTEN
HOW OFTEN? organisation of telling
(1) narrate once what happened once once (singulative narration)
EX: 'They married in June 1865 on a beautiful sunny day.'
(2) narrate once what happened n n times times (iterative narration)
EX: ‘Every day when Frida sat down to her sewing, she asked herself what she had done to deserve
this’
(3) narrate n times what happened once once (repetitive narration)
EX: This is the case (a) when a character is obsessed or haunted by an event and keeps coming
back to it; (b) when the same event is re-told from different characters' perspectives.

Poe Poems Poe Poe ms for for Home Home Study Study and and and Class Class Discussions
Discussions
Nieragden: ILCS 23
Self Self-Study Self Study 4: : Choose one one one one of of these these poems poems poems and and prepare prepare to to com-
com
ment ment on on formal formal ( (s. ( pp. 13-17 above) ) and ccontent
c
ontent ontent aspects in
class. class. In the following following session you should look for fellow fellow-stu fellow
stu- stu
dents dents with with the the the same same choice choice and and briefly briefly confer confer upon upon upon your your various various
various
readings readings and and interpretations.
interpretations.
TO ALL SKEPTICS: There is a common view that to subject a poem to analysis, and
to be explicit about its language, is to diminish its effect and deny its mystery. My view is
that, on the contrary, it increases the effect by stimulating an engagement with the poem
and extending the range of possible response. [...] The mystery of poetry, and of art in
general, is enhanced by being demystified. (Henry Widdowson. 1992. Practical Stylis-
tics: An Approach to Poetry. 1992. Oxford: OUP, p. 71).
1 William Wordsworth (1770-1850): 2 Charles Kingsley (1819-1875):
"Composed Upon Westminster Bridge" (1802) “Young and Old” (1862)
Earth has not anything to show more fair: When all the world is young, lad,
Dull would he be of soul who could pass by And all the trees are green;
A sight so touching in its majesty: And every goose a swan, lad,
This City now doth, like a garment, wear And every lass a queen;
The beauty of the morning; silent, bare, Then hey for boot and horse, lad,
Ships, towers, domes, theatres, and temples lie And round the world away;
Open unto the fields, and to the sky; Young blood must have its course, lad,
All bright and glittering in the smokeless air. And every dog his day.
Never did sun more beautifully steep
In his first splendour, valley, rock, or hill; When all the world is old, lad,
Ne'er saw I, never felt, a calm so deep! And all the trees are brown;
The river glideth at his own sweet will: And all the sport is stale, lad,
Dear God! the very houses seem asleep; And all the wheels run down;
And all that mighty heart is lying still! Creep home, and take your place there,
The spent and maimed among:
God grant you find one face there,
You loved when all was young.
3 Ezra Pound (1885-1970): 4 Frank Stuart Flint (1885-1960):
"In a Station of the Metro" (1914) "Beggar" (1915) (1915)
The apparition of these faces in the crowd; In the gutter
Petals on a wet black bough. piping his sadness
an old man stands,
►

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5 Langston Hughes (1902-67):
► (4)
bent and shrivelled,
"Theme for English B" (1927) (1927)
The instructor said,
beard draggled,
eyes dead.
Huddled and mean,
Go home and write shivering in threadbare clothes -
a page tonight. winds beat him,
And let that page come out of you--- hunger bites him,
Then, it will be true.
I wonder if it's that simple?
forlorn, a whistle in his hands,
piping.
I am twenty-two, colored, born in Winston-Salem. Hark! the strange quality
I went to school there, then Durham, then here of his sorrowful music,
to this college on the hill above Harlem. wind from an empty belly
I am the only colored student in my class. wrought magically
The steps from the hill lead down into Harlem
through a park, then I cross St. Nicholas,
into the wind -
Eighth Avenue, Seventh, and I come to the Y,
the Harlem Branch Y, where I take the elevator
up to my room, sit down, and write this page:
It's not easy to know what is true for you or me
pattern of silver on bronze.
at twenty-two, my age. But I guess I'm what 6 Dylan Thomas (1914-1953):
I feel and see and hear, Harlem, I hear you:
hear you, hear me---we two---you, me, talk on this page.
"Do not Go Gentle into that Good Night" (1934)
(I hear New York too.) Me---who? Do not go gentle into that good night,
Old age should burn and rave at close of day;
Well, I like to eat, sleep, drink, and be in love.
I like to work, read, learn, and understand life.
Rage, rage against the dying of the light.
I like a pipe for a Christmas present, Though wise men at their end know dark is right,
or records---Bessie, bop, or Bach. Because their words have forked no lightning they
I guess being colored doesn't make me not like
the same things other folks like who are other races.
Do not go gentle into that good night.
So will my page be colored that I write? Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Being me, it will not be white.
But it will be
Rage, rage against the dying of the light.
a part of you, instructor. Wild men who caught and sang the sun in flight,
You are white--- And learn, too late, they grieved it on its way,
yet a part of me, as I am a part of you.
That's American.
Do not go gentle into that good night.
Sometimes perhaps you don't want to be a part of me. Grave men, near death, who see with blinding sight
Nor do I often want to be a part of you. Blind eyes could blaze like meteors and be gay,
But we are, that's true!
As I learn from you,
Rage, rage against the dying of the light.
I guess you learn from me--- And you, my father, there on the sad height,
although you're older---and white--- Curse, bless, me now with your fierce tears, I pray.
and somewhat more free. Do not go gentle into that good night.
Rage, rage against the dying of the light.
This is my page for English B.
7 Adrian Mitchell (b. 1932): 8 Ian Hamilton (b. 1938):
"Time and Motion Study" (1964) "Birthday Poem" (1970)
Slow down the film. You see that bit? Tight in your hands,
Seven days old and no work done. Your Empire Exhibition shaving mug.
Two hands clutching nothing but air, You keep it now
Two legs kicking nothing but air. As a spittoon, its bloated doves
That yell. There’s wasted energy there. Its 1938
No use to himself, no good for the firm. Stained by the droppings of your blood,
Make a note of that. Tonight
► Half-suffocated, cancerous,
Deceived
You bite against its gilded china mouth
And wait for an attack.

9 Roger McGough (b. 1937):
► (7)
New film. Now look, he’s fourteen.
"An Apology" (1979)
Work out the energy required Owing to an increase
To make him grow that tall. in the cost of printing
It could have been used this poem will be less
It could have all been used than the normal length.
For the good of the firm and he could have stayed small.
Make a note of that. In the face of continued
economic crises, strikes,
Age thirty. And the waste continues. unemployment and V.A.T.
Using his legs for walking. Tiring
His mouth with talking and eating. Twitching.
it offers no solutions.
Slow it down. Reproducing? I see. Moreover, because of
All, I suppose, for the good of the firm. a recent work-to-rule
But he’d better change methods. Yes, he’d better. imposed by the poet
Look at the waste of time and emotion,
Look at the waste. Look. Look.
And make a note of that.
it doesn't even rhyme.
10 Seamus Heaney (b. 1939):
"Act of Union" (1979) (1979)
Nieragden: ILCS 25
I II
To-night, a first movement, a pulse, And I am still imperially
As if the rain in bogland gathered head Male, leaving you with the pain,
To slip and flood: a bog-burst, The rending process in the colony,
A gash breaking open the ferny bed. The battering ram, the boom burst from within.
Your back is a firm line of eastern coast The act sprouted an obstinate fifth column
And arms and legs are thrown Whose stance is growing unilateral.
Beyond your gradual hills. I caress His heart beneath your heart is a wardrum
The heaving province where our past has grown. Mustering force. His parasitical
I am the tall kingdom over your shoulder And ignorant little fists already
That you would neither cajole nor ignore. Beat at your borders and I know they're cocked
Conquest is a lie. I grow older At me across the water. No treaty
Conceding your half-independent shore I foresee will salve completely your tracked
Within whose borders now my legacy And stretchmarked body, the big pain
Culminates inexorably. That leaves you raw, like opened ground, again.
11 John Agard (b. 1949):
"Listen Mr Oxford Don" (1985) (1985)
Listen Mr Oxford Don I warning you Mr Oxford don
Me not no Oxford don I'm a wanted man
me a simple immigrant and a wanted man
from Clapham Common is a dangerous one
I didn't graduate
I immigrate Dem accuse me of assault
on de Oxford dictionary
But listen Mr Oxford don imagin a concise peaceful man like me
I'm a man on de run dem want me serve time
and a man on de run for inciting rhyme to riot
is a dangerous one but I tekking it quiet
down here in Clapham Common
I ent have no gun
I ent have no knife I'm not a violent man Mr Oxford don
but mugging de Queen's English I only armed wit muh human breath
is the story of my life but human breath
is a dangerous weapon
I dont need no axe
to split up yu syntax So mek dem send one big word after me
I dont need no hammer I ent serving no jail sentence
to mash up yu grammar I slashing suffix in self-defence
I bashing future wit present tense
and if necessary
I making de Queen's English accessory
to my offence

Cultural Cultural Cultural Studies: Studies: Definitions Definitions and and and Key Key Concepts Concepts
Concepts
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Cultural Studies is a way of looking at the world as if it was a still ongoing project of emancipation.
Cultural Studies is the study of the glue that discreetly binds social and cultural agreements
that appear natural. It attempts to show that there is no such thing as ‘natural’ in a world that
functions solely by outspoken and silent agreement. (Rob van Kronenburg, 1998)
WHAT CAN THE EXPANSION OF LITERARY STUDIES TO CULTURAL STUDIES OFFER
YOU? (s. s. ppp.
p
p. 11-3
1 3 above above) above
(a) Richard Johnson. 1986. “The Story So Far: and Further Transformations?” In: David YOUR THOUGHTS:
Punter (ed.). Introduction to Contamporary Cultural Studies. London: Longman, pp. 277-313,
here p. 279:
For me cultural studies is about the historical forms of consciousness or subjectivity, or the the
subjective subjective forms forms by by which which we we live live or the subjective side of social relations. Each part of these
definitions is important.
(b) Mas'ud Zavarzadeh & Donald Morton. 1994. Theory as Resistance. Politics and Culture
after (Post)structuralism. London: Guildford, p. 19:
Radical pedagogy enables the student to see that his his or her understanding of all of culture's
texts texts (from (from philosophi philosophical philosophi cal treatises to popular television shows) shows) is is a a result result of her or his situat-
edness edness edness in in a a a complex complex complex network network network of of gender, gender, gender, class, class, class, aand
aa
nd nd race race race relations relations relations that that provide provide provide the the the subject subject
subject
with with certain certain concepts. concepts. concepts. Such a student will realize that reading (and meaning) changes depending
on whether the reader is male or female, a Hispanic or white, working class or upper
class, because their subjectivities are historical: they mark different economic limits and different
levels of access to knowledge. A student who knows these things can then begin to
make the necessary connections between how he or she reads Great Expectations and how
he or she "reads" Nicaragua and the changes in Eastern europe, the "sublime" "aesthetic
beauty" of a Shakespeare sonnet and the "mundane" question of the plight of single mothers
in the ghettos of New York City.
(c) Françoise Lionnet. 1995. “Spaces of Comparison.” In: Charles Bernheimer (ed.).
Comparative Literature in the Age of Multiculturalism. Baltimore: Johns Hopkins UP, pp. 165-
174, here p. 172:
According to a U.N. report, more than 50 percent of the world’s population will be urban by
the year 2005. Visual Visual and mu musical mu
sical urban urban popular popular culture culture is is already already that of the majority, and
we we we need need to to take take this this into into account. account. That is why I do not think that it would be giving up “the
idea of distinctive trainings” (Appiah) to include popular culture (however defined) within the
purview of comparatists. Shakespeare’s plays were “popular culture” in his time, as were the
troubadours, François Villon, and Rabelais in theirs: they used the vernacular, not Latin, as
their chosen mode of expression.
(d) Herbert Grabes. 1996. “Literaturwissenschaft - Kulturwissenschaft - Anglistik.” Anglia
114, pp. 376-95, here p. 393:
Dabei geht es um die Ermittlung rekurrenter Wertvorstellungen in den vielen Subcodes
einer Gesamtkultur, die über die Konstitution von Werthierarchien das Denken,
Fühlen und Verhalten steuern. Wenn Wenn man man bewußtmachen bewußtmachen kann, was innerhalb der
ver verschiedenen ver verschiedenen
schiedenen Bereiche Bereiche einer einer fremden fremden Kultur Kultur besonders besonders besonders ge geschätzt, ge
schätzt, nur nur geduldet,
geduldet,
eher eher eher abge abgelehnt abge abge lehnt oder oder gar gar gehaßt gehaßt wird, wird, wird, ist ist ein ein ent entscheidender ent scheidender Schritt hin hin zu jener 'inter- 'inter
kulturel kulturellen kulturel len Kom Kompetenz' Kom petenz' getan getan, getan die für die Anglistik in einer Zeit zunehmend wichtiger
werdender interkultureller Beziehungen ein angemessenes Lehr- und Lernziel bildet.
Dictionary Entry on "Culture":
1 the the arts arts and and other other manifestations manifestations of of human human intellectual intellectual achi achievement achi evement regarded regarded collectively
collectively
2 a refined understanding of this; intellectual development
3 the the customs, customs, civilization, civilization, civilization, and and achievements achievements of of a a particular particular time time or or people
people
4 improvement by mental or physical training.
5 the cultivation of plants; the rearing of bees, silkworms, etc.
6 the cultivation of the soil.
7 quantity of micro-organisms and the nutrient material supporting their growth

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Synonyms
2 cultivation, refinement, sophistication, urbanity, breeding, taste, etc.
3 civilization, mores, customs, lifestyles, way of life
from: The Oxford Dictionary and Thesaurus.
Functional Definitions of "Culture" (~no. 2 from above list):
DEFINITION: BEHAVIOURISTIC BEHAVIOURISTIC
FUNCTIONALISTIC FUNCTIONALISTIC COGNITIVE COGNITIVE
SYMBOLIC
SYMBOLIC
ACQUIRED THROUGH: imitation reflection reflection negotiation
NATURE: behaviour patterns agreed values individual views meaning systems
INVOLVEMENT: unconscious unconscious active active
DYNAMICS: low low high high
Popular Culture
1 culture which is widely favored or well liked by many people (also called mass culture)
2 everything that is outside of 'high culture'
3 commercial culture which is automatically consumed
4 the authentic culture of (ordinary) people
High Culture vs. Low Culture:
1. The demarcation between the good and the bad, or the high and the low, centres on questions of
aesthetic quality; i.e. judgements about beauty, goodness and value.
2. Historically, the policing of the boundaries of a canon of 'good works' has led to the exclusion of
popular culture - judgements of quality have derived from an institutionalized and class-based hierarchy
of cultural taste.
3. Such a hierarchy, formed within particular social and historical contexts, is employed by its apologists
as a justification of a ‘universal’ set of aesthetic criteria.
4. With the passing of time and the increasing interest in popular culture, a new set of theorists argues
that there are no legitimate grounds for drawing the line between the worthy and the unworthy, the
good and the bad.
5. Concepts of beauty, form and quality are culturally relative; beauty in western thought may not be the
same as that to be found in other cultures
6. Cultural Studies has developed evaluative criteria based on political values and ideological analysis
(rather than aesthetics) so that the role of criticism becomes the development of a more profound understanding
of our cultural and symbolic processes and the way in which they are connected to social,
political and economic power.
7. From this perspective, it makes little sense to discuss whether culture is formally and aesthetically
'good' or 'bad'; rather, we need to consider, from an inevitably value-laden position, its ideological
construction and potential consequences
Minority Cultures and the Indigenous Majority Culture
1. Indigenous majority culture cannot be seen simply as one amongst a number of cultures
2. Superficial elements of minority cultures (e.g. cuisine, fashion) can affect the majority culture, but they are
unlikely to transform it fundamentally
3. Immigrants have to accept many cultural and institutional features of the societies in which they settle as
providing the framework in which they now have to live their lives. These features include: the official language
of the society, its economic institutions, its criminal and civil law. Accepting these and living within their constraints
is the price which immigrants have to pay, and are usually willing to pay, for the advantages of immigration
4. Immigrant minorities will make their contribution to a developing national culture through their campaigns
against injustice and through their own 'high', 'literary', or 'aesthetic' culture
THUS: THUS: THUS: THUS:
The advent of multiculturalism as a governmental programme signified a deliberate departure
in the way that nation-states historically have chosen to depict themselves. Rather than
projecting an image of the nation as a unified, culturally homogenous group, multiculturalism
recognises that contemporary society is made up of distinct and diverse groups. The official
policies of multiculturalism aim to manage cultural diversity through welfare, culture and social
justice initiatives. The intention is to move away from ‘assimilation’ of migrants or indigenous
people towards wider acceptance of difference as something legitimate and valuable.
John Hartley. 2002. Communication, Cultural and Media Studies. The Key Concepts. London: Routledge, p. 151.

(British) (British) Cultural Cultural Cultural Studies Studies Today: Today: Common Common Platform
Platform
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• Concerned with the ways different cultures and cultural experiences interact with the historical, social, political
and economic processes that shape the world in which we live
• Concerns have moved from perceiving culture as the 'arts' to seeing culture as being 'ordinary' ('a whole way
of life'), that is, from a broadly literary to an anthropological definition
• Rejection of the idea of culture as determined by economic forces in favour of understanding it as an autonomous
set of meanings and practices with its own logic
• Culture as a concept has moved from the margins of the humanities ('Geisteswissenschaften') and social sciences
to one at its very heart
• No generally accepted definition of culture, but a widely accepted way of understanding it is in terms of 'maps
of meaning' (which meanings are put in to circulation, by whom, for what purposes and in whose interests)
• Concept of culture is above all a political one concerned with questions of power (much of cultural studies has
been centred on questions of power, knowledge, ideology and hegemony)
• The range of goods and services available in many countries is international
• Tastes are no longer only nationally circumscribed
• Awareness of other cultures is fostered by tourism and the globalisation of the mass media
• People learn about other cultures from the programmes broadcast by global media companies
• This form of globalisation has led to fears that domination in music, television and radio of large media companies
and some countries, especially the USA, will standardise cultural experience
• Existing fear that Western popular music and Hollywood films will come to be the only forms available, and
that local cultures will be wiped out (homogenisation of cultures)
• Audiences have the capacity to interpret locally what they see and hear in their own local way - glocalisation =
globalisation and localisation
THUS: THUS: THUS: THUS:
Cultural studies is an interdisciplinary field in which perspectives from different disciplines
can be selectively drawn on to examine the relations of culture and power. Cultural studies
is concerned with all those practices, institutions and systems of classification through which
there are inculcated in a population particular values, beliefs, competencies, routines of life
and habitual forms of conduct. The forms of power that Cultural Studies explores are diverse
and include gender, race, class, colonialism, etc. Cultural studies seeks to explore the
connections between these forms of power and to develop ways of thinking about culture
and power that can be utilized by agents in the pursuit of change. The prime institutional
sites for Cultural Studies are those of higher education, and as such Cultural Studies is like
other academic disciplines. Nevertheless, it tries to forge connections outside of the academy
with social and political movements, workers in cultural institutions, and cultural management.
Chris Barker. 2000. Cultural Studies: Theory and Practice. London: Sage, p. 7.
Cultural Practices and Concepts which are researched include:
Age Animals Class Comedy
Cricket Design Economy Education of Boys
Education of Girls Family Fashion Food
Football Gender roles Legends Leisure
London Money Musicals Painting
Politics Pop Music Private Schools Pubs
Public Schools Religion Royal Family Rugby
Rural Britian Sexuality Television Tourism
Universities Urban Britain Xenophobia Xenosophy
Key Terms which mark the analysis of all of these:
alterity, belonging, collective, demarcation, equality, identity, ideology, image, in-group, leisure,
meaning, memory, other, out-group, popular culture, representation, respect, self, stability, stereotype,
success, tradition, volatility, work

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Bibliographic Bibliographic RReferences:
R eferences: Recommended Recommended Recent Recent Works Works Works (post (post-1990 (post
1990 1990) 1990
1. INTRODUCTIONS & OVERVIEWS
Appiah, Kwame A. & Henry L. Gates, Jr. (Eds.). 1999. The Dictionary of Global Culture. Harmondsworth: Penguin.
Chaney, David. 1994. The Cultural Turn: Scene-Setting Essays on Contemporary Cultural History. London:
Routledge.
Bassnett, Susan. 1997. Studying British Culture. An Introduction. London: Routledge.
Brantlinger, Patrick. 1990. Crusoe’s Footprints. Cultural Studies in Britain and America. London: Routledge.
Hansen, Klaus P. 1995. Kultur und Kulturwissenschaft. Eine Einführung. Tübingen & Basel: Francke.
Hugelmann, Frank. 1992. Student’s Outline of British and American History. Berlin: Cornelsen.
Korte, Barbara, Klaus Peter Müller & Josef Schmied. 1997. Einführung in die Anglistik. Stuttgart: Metzler, Ab-
schnitt: schnitt: „Kulturwissenschaft“, „Kulturwissenschaft“, 140 140-190. 140 190.
Kramer, Jürgen. 1997. British Cultural Studies. München: Fink.
Mank, David & John Oakland. 2 1997 [ 1 1995]. American Civilization. An Introduction. London: Routledge.
Morgan, Kenneth O. (ed.). 2 1999 [ 1 1991]. The People’s Place. British History Since 1945. Oxford: OUP.
Nünning, Ansgar (ed.). 2 2001 [ 1 1998]. Metzler Lexikon Literatur- und Kulturtheorie. Ansätze-Personen-Grundbegriffe.
Stuttgart: Metzler.
Nünning, Ansgar & Andreas H. Jucker. 1999. Orientierung Anglistik/Amerikanistik. Was sie kann, was sie will.
Reinbek: Rowohlt., Abschnitt: Abschnitt: „Cultural „Cultural Studies“, Studies“, 135 135-169. 135 169.
Nünning, Ansgar & Vera (eds.). 2003. Konzepte de Kulturwissenschaften. Stuttgart: Metzler.
Nünning, Ansgar & Vera (eds.). 2004. Kulturwissenschaftliche Literaturwissenschaft. Tübingen: Narr.
Oakland, John. 3 1995 [ 1 1989]. British Civilization. An Introduction. London: Routledge.
Payne, Michael (ed.). 1996. A Dictionary of Critical and Cultural Theory. Oxford: Blackwell.
Schwanitz, Dietrich. 1995. Englische Kulturgeschichte. Bd. 1: Frühe Neuzeit 1500-1760. Bd. 2: Moderne 1760-
1914. Tübingen: Francke.
Storey, John. 1993. An Introductory Guide to Cultural Theory and Popular Culture. London: Harvester Wheatsheaf.
Turner, Graeme. 2 1996 [ 1 1990]. British Cultural Studies: An Introduction. London: Routledge.
2. FIELDS OF OPERATION
Abelove, Henry, Michèle Aina Barale & David M. Halperin (Eds.). 1993. The Lesbian Lesbian Lesbian Lesbian and Gay Gay Gay Gay Studies Reader.
London :Routledge.
Abram, Fran. 2002. Below the Breadline. Living on the Minimum Minimum Minimum Minimum Wage. Wage Wage Wage London: Profile Books.
Appleyard, Bryan. 1989. The Pleasures of Peace. Art Art Art Art and and and and Imagination
Imagination Imagination
Imagination in Post-War Britain. London: Faber & Faber.
Baker Jr., Houston A., Manthia Diawara, & Ruth H. Lindeborg (Eds.). 1996. Black Black Black Black British British British British Cultural Studies: A
Reader. Chicago: Chicago UP.
Barley, Nigel. 1989. Native Land. The Bizarre Rituals Rituals Rituals Rituals and and and and Customs Customs Customs Customs That Make the English English. London: Viking.
Buruma, Ian. 2000. Anglomania. A European Love Affair. New York: Vintage Books.
Davies, Alan. 1998. British British British British Politics Politics Politics Politics and Europe. London: Hodder & Stoughton.
Downing, David 2000. The Best of Enemies: England v Germany. A Century in Football Football Football Football Ri Rivalry Ri Rivalry.
valry valry London:
Bloomsbury.
Doyé, Peter (Ed.). 1991. Großbritannien
Großbritannien Großbritannien
Großbritannien - Seine Darstellung in in in in de deutschen de deutschen
utschen utschen Schulbüchern
Schulbüchern Schulbüchern
Schulbüchern für den Englischunterricht.
Frankfurt/M.: Diesterweg.
Hart, Andrew. 1994. Understanding the Media Media. Media Media A Practical Guide. London: Routledge.
Holloway, David (Ed.). 1992. The The The The Sixties Sixties: Sixties Sixties A Chronicle of the Decade. London: Simon & Schuster.
Holt, Richard. 1989. Sport Sport Sport Sport and the British. A Modern History. Oxford: Blackwell.
Jenks, Chris (Ed.). 1995. Visual Visual Visual Visual Culture. London: Routledge.
Marcus, Greil. 1994. In the Fascist Bathroom: Writings on Punk Punk Punk Punk 1977-1992. Harmondsworth: Penguin.
3. (BRITISH) IDENTITIES IN QUESTION
Carter, Erica, James Donald & Judith Squires (Eds.). 1993. Space and Place: Theories of Identity and Location.
London: Lawrence & Wishart.
Chambers, Iain. 1994. Migrancy, Culture, Identity. London: Routledge.
Doyle, Brian. 1989. England and Englishness. London: Routledge.
Hall, Rodney Bruce. 1999. National Collective Identity. Social Constructs and International Systems. New York:
Columbia UP.
Hall, Stuart & Paul de Gay (Eds.). 1996. Questions of Cultural Identity. London: Sage.
Hastings, Adrian. 1997. The Construction of Nationhood. Ethnicity, Religion and Nationalism. Cambridge: CUP.
Langford, Paul. 2000. Englishness Identified. Manners and Character, 1650-1850. Oxford: OUP.
Schwarz, Bill (Ed.). 1996. The Expansion of England. The Cultural History of Race and Ethnicity. London:
Routledge.
Spiering, Menno. 1992. Englishness. Foreigners and Images of National Identity in Postwar Literature. Amsterdam:
Rodopi.
Buying Buying Recommendation: Recommendation: Sommer, Roy. 2003. Grundkurs Cultural Studies / Kulturwissenschaft
Großbritannien. Stuttgart: Klett. ***175 S., with very good bibliography / webliography; €14,95

Making Making Making Sense Sense of of Space Space (Maps)
(Maps)
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Nieragden: ILCS 31

Cultur Cultural Cultur al Histories Histories of Time (Chronologies)
(Chronologies)
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Self Self-Study Self Study 5: : Read both of these lists on British and American
history history and then decide on one. For thi this, thi
s, name three entries that
that
YOU YOU find find unnecessary un un un necessary to to include. include. Prepare Prepare to to state state the the reasons
for for your your decision.
decision.
Source Source: Source : http://www.oxfordlanguagedictionaries.com/Public/PublicResources
http://www.oxfordlanguagedictionaries.com/Public/PublicResources
Before Before 6500 6500 BC
BC
4000 4000–1500 4000 1500 1500 BC
500 500 BC
BC
55 55 BC BC–410 BC 410 AD
From From 400 400 AD AD
AD
From From 800 800 AD
AD
1066
1066
1088
1088
1215
1215
1283 1283
1283
A A brief brief chronology chronology of of British British history history
history
Until the English Channel was formed, Britain was linked by land to Europe.
Many different peoples lived in Britain as hunter-gatherers.
By 4000 BC, the land was being farmed and we have evidence of settlements.
From about 2500 BC onwards, the Ancient Britons began
constructing huge stone monuments.
The Celts arrived in Britain. Celtic culture became established in Britain
and continued during the Roman occupation.
Julius Caesar invaded Britain in expeditions in 55 and 54 BC. Britain was
now a recognized part of the Roman world.
Anglo-Saxon invaders settled in Britain and ruled over much of England.
Raids by Vikings from Denmark and Norway were followed in 865 by an
invasion of Danes who by 877 controlled the eastern half of England.
The Norman duke who came to be known as William the Conqueror invaded
England and defeated the English king, Harold. For the next few
centuries England was ruled by Normans, and French became the language
of the court.
The Domesday Book was completed, giving a comprehensive record of
the ownership and value of land in England in 1086.
King John is forced to sign the Magna Carta, restricting his power and giving
new rights to the barons and the people.
Wales was conquered by Edward I of England.

1314
1314
1346
1346
1455 1455–1485 1455 1485
1534
1534
1564
1564
1588 1588
1588
1603
1603
1605
1605
1642 1642–1651 1642 1651
1653 1653–1658 1653 1658 1658
1660
1660
1689 1689
1689
Nieragden: ILCS 33
The Scots defeated an invading English army at the Battle of Bannockburn,
allowing Scotland to remain an independent country.
The English defeated the French at the Battle of Crécy. It was the first
major English victory of the Hundred Years War.
The Wars of the Roses. Intermittent civil wars fought between members of
the House of Lancaster and the House of York.
King Henry VIII became the Head of the Church in England.
The birth of Shakespeare, English poet and playwright, the foremost figure
in English literature and a primary influence on the development of
especially the literary language.
The Spanish Armada, a fleet of ships sent to invade England, was defeated.
King James VI of Scotland became King James I of England, Scotland,
and Wales. His mother was Mary, Queen of Scots. Inheriting the throne
after the death of Elizabeth I, he united Scotland and England under one
government.
James I was hated by many Catholics and a group of them attempted to
kill him when he was in Parliament.
The English Civil War. King Charles I’s forces (the Royalists or Cavaliers)
were decisively defeated by the parliamentary forces (or Roundheads) in
1645. Charles I was executed in 1649.
Cromwell dismissed Parliament and ruled as Lord Protector of England,
Scotland, and Ireland.
The Restoration of the monarchy took place with the return of Charles II.
The Catholic James II was removed from the throne and the Protestant
William of Orange and his wife Mary, James’s daughter, were crowned
instead.

1707
1707
1721
1721
1771
1771
1783
1783
1800
1800
1805
1805
1815
1815
1824 1824
1824
1832
1832
1838
1838
1851 1851
1851
1853 1853–1856 1853 1856
1880
1880
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The Act of Union joined England, Wales and Scotland as one kingdom
called Great Britain.
Sir Robert Walpole became the first Prime Minister in the modern sense.
The ‘factory age’ began with the opening of Britain’s first cotton mill.
With the end of the American War of Independence Britain lost her American
colonies.
The second Act of Union added Ireland to Great Britain to form the United
Kingdom of Great Britain and Ireland.
The Royal Navy led by Admiral Lord Nelson commanded the British fleet
that defeated a French and Spanish fleet at the Battle of Trafalgar.
The Duke of Wellington defeated Napoleon at the Battle of Waterloo.
The first railway was built, part of the technological development that
changed the face of Britain.
The first Reform Act created more seats in Parliament and gave more
men the vote.
Slavery was abolished in the British Empire.
The Great Exhibition. The first international exhibition of the products of
industry, promoted by Prince Albert, held in the Crystal Palace in London.
The Crimean War, fought by Britain, France, and Turkey against Russia,
which had ambitions to expand westward and southward. Florence Nightingale’s
work in the military hospitals was an important influence on the
development of professional nursing.
It became compulsory for children between 5 and 13 to go to school.

1911
1911
1914 1914–1918 1914 1918
1918
1918
1921
1921
1926
1926
1928 928
1939 1939–1945 1939 1945
1948
1948
1952
1952
1973
1973
1998
1998
1999
1999
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The National Insurance Act introduced sickness and unemployment insurance
for workers.
World War I, in which the Central Powers (Germany and Austria-Hungary,
joined later by Turkey and Bulgaria) were defeated by the Allies (Britain,
France, and Russia, joined later by Italy and the US).
Women gained the right to vote from the age of 30.
Ireland was divided into the Irish Free State and the Protestant counties in
the north.
The General Strike, a strike by workers in all of Britain’s important industries
in support of the mineworkers, who were being asked to work for less
money.
Women were allowed to vote from the age of 21, the same age as for
men.
World War II, in which the Axis Powers (Germany, Italy, and Japan) were
defeated by an alliance eventually including the United Kingdom and its
dominions, the Soviet Union, and the US.
The National Health Service was set up by the Labour government, providing
medical care that is paid for mainly by taxation.
Elizabeth II succeeds her father, George VI, as British monarch.
Britain became a member of the European Economic Community.
The first attempt to set up a Northern Ireland Assembly, as part of the
Good Friday Agreement.
The Welsh Assembly and the Scottish Parliament were set up.

Before Before 4000 4000 BC
BC
1492 1492 AD AD
AD
1607
1607
1619
1619
1620 1620
1620
1664
1664
1754 1754–1763 1754 1763
1773
1773
1774
1774
1775 1775–1783 1775 1783 1783
1787 1787–1791 1787 1791
A A brief brief chronology chronology chronology of of US US hist history hist ory
Nieragden: ILCS 36
Ancestors of modern Native Americans arrived in North America, probably by
crossing the Bering Strait from Siberia.
Christopher Columbus reached the Bahamas. This led to European exploration
and colonization of North and South America.
The first permanent English colony in North America was established at Jamestown,
Virginia.
The first African slaves brought to North America landed at Jamestown.
The Pilgrims arrived from England on the Mayflower at Massachusetts.
The Dutch colony of New Amsterdam was taken by the British and renamed New
York.
The French and Indian War gained new land for the American colonists.
The Boston Tea Party took place in Boston harbour. American colonists boarded
ships and threw boxes of tea into the sea as a protest against the imposition of a
tax on tea by the British parliament.
The first Continental Congress took place, making demands for more rights from
Britain. The Continental Congress was the first governing body of the thirteen colonies
which later became the United States.
The American Revolution led to independence from Britain. The Declaration of Independence
was signed in 1776.
The US Constitution and Bill of Rights were written and approved. The Constitution,
which was signed in 1789, established the legislative, judicial, and executive
branches of government and detailed the responsibilities of each. The Bill of
Rights, consisting of the first ten amendments to the Constitution, was ratified two
years later. George Washington became the first President of the United States in
1789.

1800 1800
1800
1803 1803
1803
1808
1808
1812 1812–1815 1812 1815
1819
1819
1848 1848–1849 1848 1849 1849
1861 1861–1865 1861 1865 1865
1865
1865
1865 1865–1867 1865 1867
1898
1898
1917
1917
1919
1919
Nieragden: ILCS 37
The seat of Government moved from Philadelphia to Washington D.C.
The Louisiana purchase, whereby the US acquired from France over two million sq
km (828,000 sq miles) of territory stretching north from the mouth of the Mississippi
to its source and west to the Rockies.
Importing slaves was banned but the trade in slaves in the country continued.
The US fought Britain in the War of 1812. The British captured Washington, D.C.
in 1814. American successes, however, led to the Treaty of Ghent (1814) which
ended the war.
The Adams-Onís Treaty, an agreement made between the United States and
Spain in which Spain ceded Florida to the United States and relinquished its
claims to Oregon. Also known as the Transcontinental Treaty.
The California Gold Rush, during which some 40,000 people moved to the US
state of California after gold was discovered there.
The Civil War was fought between the Union (= northern states) and the Confederate
States (= southern states). The Union won. In 1863 President Abraham Lincoln
signed the Emancipation Proclamation, abolishing slavery in the US.
President Lincoln was assassinated.
Reconstruction in the South. Confederate states were brought back into the US.
Laws were passed making slavery illegal and giving new rights to black people.
The Ku Klux Klan was founded in opposition to these social changes.
The Spanish-American War, arising from the destruction of the US warship Maine,
for which the US blamed Spain. The US won easily, and after this victory came to
be recognized by other countries as a world power.
The US entered World War I.
Prohibition became law, so that it became illegal to produce or sell alcohol in the
US until the repeal of the law in 1933.

1929 1929
1929
1929 1929–1939 1929 1939 1939
1941 1941–1945 1941 1945
1950 1950–1953 1950 1953
1954
1954
1959
1959
1961
1961
1962
1962
1963
1963
1964 1964–1965 1964 1965 1965
1969
1969
1973 1973
1973
Women gained the right to vote.
Nieragden: ILCS 38
The Great Depression, the financial and industrial slump that lasted from1929 until
World War II.
The US joined World War II after the Japanese attack on Pearl Harbor. Americans
fought in both Europe and the Pacific. The war ended after the US dropped atomic
bombs on the Japanese cities of Hiroshima and Nagasaki.
The Korean War, fought between North and South Korea. The US persuaded the
UN to act on behalf of South Korea, while China intervened on the side of the
North. The war ended with the restoration of previous boundaries.
The Supreme Court ruled in Brown v Board of Education that racial segregation in
public schools was illegal.
Alaska and Hawaii became the two last states to join the US.
President John F. Kennedy sent advisers to South Vietnam, beginning US military
involvement in the Vietnam War.
The Cuban Missile Crisis. When the US discovered Soviet nuclear missiles on
Cuba, President John F. Kennedy demanded their removal. A nuclear war between
the two countries seemed possible, however the Soviet leader, Nikita
Khrushchev, acceded to US demands.
President Kennedy was assassinated. This event, along with the controversy
within the US over its involvement in the Vietnam War and the assassination of
Martin Luther King (1968) and Robert F. Kennedy (1968), had a profound effect on
American society and optimism.
The civil rights movement of the 1950s and 1960s led to the Civil Rights Act of
1964 and the Voting Rights Act of 1965, guaranteeing basic rights for African Americans
and people of all races.
Neil Armstrong became the first person to walk on the moon.
The US military involvement in Vietnam ended.

1973 973
1974
1974
1979
1979
2001
2001
2009
2009
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The Supreme Court decision in Roe v Wade made abortion legal, a decision that
continues to provoke great controversy in US politics.
The Watergate scandal forced President Richard Nixon to resign, making him the
first president ever to do so.
Diplomatic relations between China and the US were formally established.
Terrorists flew planes into the World Trade Center and the Pentagon on September
11.
Barack Obama became the first African American president.

SONG SONG LYRICS
LYRICS
What What What CS CS wants ants ants to to find ind out ut about: bout: Examples Examples 1
1
Bruce Bruce Bruce Springsteen
Springsteen, Springsteen , " "The " The Ghost Of Of Tom Tom Joad Joad" Joad
(1995)
(1995)
Men walkin' 'long the railroad tracks
Goin' someplace there's no goin' back
Highway patrol choppers comin' up over the bridge
Hot soup on a campfire under the bridge
Shelter line stretchin' 'round the corner
Welcome to the new world order
Families sleepin' in their cars in the Southwest
No home no job no peace no rest
The highway is alive tonight
But nobody's kiddin' nobody about where it goes
I'm sittin' down here in the campfire light
Searchin' for the ghost of Tom Joad
He pulls a prayer book out of his sleeping bag
Preacher lights up a butt and takes a drag
Waitin' for when the last shall be first and the first shall be last
In a cardboard box 'neath the underpass
Got a one-way ticket to the promised land
You got a hole in your belly and gun in your hand
Sleepin' on a pillow of solid rock
Bathin' in the city aqueduct
The highway is alive tonight
Where it's headed everybody knows
I'm sittin' down here in the campfire light
Waitin' on the ghost of Tom Joad
Now Tom said: "Mom, wherever there's a cop beatin' a guy
Wherever a hungry newborn baby cries
Where there's a fight against the blood and hatred in the air
Look for me mom I'll be there
Wherever there's somebody fightin' for a place to stand
Or a decent job or a helpin' hand
Wherever somebody's strugglin' to be free
Look in their eyes Mom you'll see me."
Well the highway is alive tonight
But nobody's kiddin' nobody about where it goes
I'm sittin' down here in the campfire light
With the ghost of old Tom Joad
Nieragden: ILCS 40

MEDIA MEDIA MANIPULATION
MANIPULATION
MANIPULATION
By Vurdlak on January 26, 2010
Nieragden: ILCS 41
I don’t know if these shots were taken from an actual photojournalism, or were they just
used as a theoretical example, but either way consider this a pretty powerful demonstration.
See for yourself how our our perception can be easily shaped, and manipulated with by the
media. I believe it isn’t necessary to explain this optical illusion. Photos speak for themsel-
ves. Imagine you worked for an administration that wants you to show how soldiers have no
mercy when it comes to war. You would use the cropped picture on your left in that case.
However, if you worked for the other side, and wanted to depict soldiers as human beings,
you would crop the right part of the original photo. There you have it! Such powerful
example amazes me, but in the same time scares the sh*t out of me. Which makes me
think, should we be more skeptic to stories medias bombard us with?
MEDIA MEDIA CRITICISM
from from an an anonymous anonymous Internet Internet Internet Blog
Blog
Desperate Desperate Desperate Desperate Housewives
Housewives Housewives
Housewives Desperate Desperate for for Idealistic Idealistic Families
Families
It is apparent in each of the four main female characters of Desperate Housewives that the
equilibrium of a happy, stable family is constantly there in the background, but is never
achieved. Each woman claims at one point to want an ideal family life but their actions in the
series never fully allow them to achieve this desire. Gabrielle for example moved to a sub-
urban town without any intention of becoming a “housewife”. She had an affair with the gar-
dener, and her husband Carlos took her back. They decided to start a family in hope to
mend their relationship but needed a surrogate mother to do so. Carlos had an affair with
the surrogate mother and the baby she was carrying turned out not to be Gabrielle’s and

Nieragden: ILCS 42
Carlos’s. Bree, the perfectionist strives for a picture perfect family perhaps the most out of
the foursome. She’s polite, well spoken, and a perfect host; however she has two rebellious
children and suspected murderer for a husband. Susan is the divorced single mother who
wishes for a prince charming to sweep her off her feet so she too can attempt to achieve
stable family status. However she slept with her ex husband who was engaged to Eddie
Britt. Lynette has the only stable family out of the four main characters in part due to her
husbands’ apparent love and devotion towards her. She is also the only woman who works
outside of the home while her husband stays home with their four children. I think Desperate
Housewives is a comforting and comedic outlet to many women who can relate to this reach
for the unattainable idealistic family.

What What CS CS CS has as to o offer ffer ffer: ffer : Examples 2
Nieragden: ILCS 43
Self Self-Study Self Study 6: Which different '
versions' 'versions versions versions of of the the game's game's history history and
and
the the role role of of 'The 'The 'The English' English' and and 'The 'The 'The India Indians' India ns' can you establish establish in
in
these these these two two sources?
sources?
1. 1. http://www.mapsofindia.com/cricket/cricket
http://www.mapsofindia.com/cricket/cricket-in
http://www.mapsofindia.com/cricket/cricket in in-india.html
in ndia.html
"Cricket "Cricket "Cricket Mania Mania Mania In In India"
India"
Although cricket is not the official national sport in India, it begets much more excitement and a
greater fan following than the official national sport Hockey. Why only hockey? In fact no other sport
in India can claim the position of cricket in respect to its popularity and revenue generation.
The cricket mania in India would leave an onlooker amazed and wonderstruck. Go to any part in Indian
from Jammu and Kashmirin the north to Kerala and Tamilnadu in the south or from Maharashtra
in the west to Assam in the east, you would definitely spot a bunch of boys busy with a cricket bat (or
may be it's poorer version) hitting a ball.
If you wondered why, reasons are many. That India often makes it to the top teams of cricket, scores
high among the reasons. In its nearly 60 years of history after independence, the biggest international
success of India is the World Cup victory in 1983, which the Indians still hold dear to heart. Subsequent
appreciable performances in other World Cups and international tournaments have much to do
with the huge popularity of cricket in India.
The British brought the game of cricket to India. Initially only the Parsi community of western India,
who were rather close to the British Officials, started playing the game. In course of time the game
found favor with the Indian royalty. Some of the Indian Maharajahs even gained favor with the British
for their cricketing merits. After India gained Independence in 1947, the British left, but the legacy remained.
It did not take long for Indians to make it to the international arena.
Today cricket in India play the role of an adhesive in this land of contrasts and contradiction. At least
the Indians from Srinagar to Kochi from Mumbai to Kolkata have some thing in common! No wonder
an ace Indian cricketer is worshipped like a deity. Whether he is from Uttaranchal or Andhra Pradesh
from Maharashtra or Arunachal Pradesh , hardly makes any difference. The movie stars from Bollywood,
the biggest film industry in Asia, do not even enjoy the similar status.
Almost all the states play cricket in India and quite a few first class tournaments are played at the domestic
level. The middleclass Indian kids of today do dream of taking cricket as a career. The government
encourages the sport with supporting and developing the infrastructure. There are a number
of important stadiums for playing cricket in India.
People work out their social events, leaves from office and travel plans tallying with the Indian cricket
team's schedule. There are several instances of Indian cricket fans arranging elaborate pujahs or
going on a ceremonial fast on the eve of a final game of a significant international tournament.
The flip side of this does exist. Streets, offices, schools and hospitals run empty on a day when the
Indian side locks horn with Pakistan in a sensitive match anywhere in the world. Incidents of heart
attacks during a nail-biting finish or even suicide at the loss of Indian side have also been known to
occur.
But the huge cricket mania in India has undeniably turned the sport into a large industry in the
country. A lot of money spins around the sport and multiplies its effect in the national economy to the
benefit of everybody. The Stock Exchange Index rises and falls and elections are won or lost centering
round the sentiment of cricket. Top rung corporate organizations eye the Indian market to launch
a product or sponsor a game.
So, cricket mania in India has a stronghold upon its populace, which is hard to ignore. Whoever can
tap its potential, reaps the benefits. Come, visit India during the coming ICC Champions Trophy and
find out how the cricketing sentiment runs through billions of Indian hearts.

2. 2. en.wikipedia.org/wiki/History_of_cricket_in_India
en.wikipedia.org/wiki/History_of_cricket_in_India
"History "History of of of cricket cricket in in India India "
"
Nieragden: ILCS 44
The entire history of cricket in India and the sub-continent as a whole is based on the existence and
development of the British Raj via the East India Company.
On Wednesday 31 December 1600, Queen Elizabeth I granted a Royal Charter to the East India
Company, often colloquially referred to as "John Company". It was initially a joint-stock company that
sought trading privileges in India and the East Indies, but the Royal Charter effectively gave it a 21
year monopoly on all trade in the region.
In time, the East India Company transformed from a commercial trading venture to one which virtually
ruled India as it acquired auxiliary governmental and military functions, until its dissolution in 1858
following the Indian Mutiny. The East India Company was the means by which cricket was introduced
into India.
In 1639, the Company effectively founded the city of Madras and in 1661 acquired Portuguese territory
on the west coast of India that included Bombay. In 1690, an Anglo-Moghul treaty allowed
English merchants to establish a trading settlement on the Hooghly River, which became Calcutta. All
of these places became major cricket centres as the popularity of the game grew among the native
population.
The first definite reference to cricket being played anywhere in the sub-continent is a report of English
sailors of the East India Company written in 1737. It refers to cricket being played at Cambay, near
Baroda in 1721. The Calcutta Cricket and Football Club is known to be in existence by 1792, but was
possibly founded more than a decade earlier. In 1799, another club was formed at Seringapatam in
south India after the successful British siege and the defeat of Tippu Sultan. In 1864, a Madras v.
Calcutta match was arguably the start of first-class cricket in India.
The most important fixture in the 19th century was the Bombay Presidency Match which evolved,
first, into the Bombay Triangular and then into the Bombay Quadrangular. The match was first played
in 1877 and then intermittently for several seasons until finally being given first-class status in 1892-
93. An English team led by George Vernon in 1889-90 was the first foreign team to tour India but
none of the matches that it played are considered first-class.
First-class cricket definitely began in the 1892-93 season with two Europeans v Parsees matches at
Bombay (match drawn) and Poona (Parsees won by 3 wickets). In the same season, Lord Hawke
captained an English team that played four first-class matches including a game against "All India" on
26–28 January 1893.
The Ranji Trophy was launched as India's national championship following a meeting of the Board of
Control for Cricket in India (BCCI) in July 1934 and the competition began in the 1934-35 season.
The trophy was donated by the Maharajah of Patiala but named after KS Ranjitsinhji ("Ranji"), even
though he barely played any of his cricket in the country. Ranji had died on 2 April 1933. The first
winner was Bombay.
The major and defining event in the history of Indian cricket during this period was the Partition of India
following full independence from the British Raj in 1947

Nieragden: ILCS 45
Self Self-Study Self Study Study 7: Which 'sectors of significance' are established
for for JAMES JAMES BOND BOND and and ► literary literary studies studies / / fi film fi lm studies / / gender
studies studies / / politics politics / / marketing marketing / / ima imagology ima ima gology / the canon / / inter-
inter
textuality textuality and and intermediality intermediality in th this th
is academic conference?
Which Which "Bonds" "Bonds" are are formulated formulated in in the the panels panels and and individual individual pa-
pa
pers?
pers?
The The Cultures Cultures of of James James Bond
Bond
An An International International CConference
CC
onference at at Saarbrücken Saarbrücken University, University, 55-7
5
7 June, June, 2009
2009
Since his earliest appearances in print and on the screen, James Bond has become a popular icon
and has developed nothing short of his own cultural mythology. His iconic status today may well hide
the fact that through the years, “James Bond” has acquired very different meanings in a variety of
contexts. He has provided a screen onto which the heterogeneous desires of nationally, culturally
and socially diverse readers, viewers and users have been projected. In addition, Bond has long become
an academic topic as well, not just in film studies, but also in literary and cultural studies. As a
cultural phenomenon entangled in the histories not only of Western cultures since World War II, Bond
more than merits a conference as a forum to discuss new approaches and recent revisions.
Bond Bond Bond has has has bee been bee been
n around: around: around:
Both as a fictional character and as a cultural product, Bond
has crossed national, media, and generic boundaries.
Bond Bond is is different: different:
Constructions of Bond can be analysed by focussing on
categories based on difference.
Bond Bond means means means culture culture and and politics: politics: The interactions of the written, visual, material and digital texts
of Bond with their social, political, cultural and/or historical contexts have already proved a rewarding
field of enquiry.
Bond Bond is is big big business: business:
Commercial aspects of popular culture have been intensely
debated since the 1940s.
Bonds. Bonds. James James Bonds.
Bonds.
Programme
Programme
Friday, Friday, 5 5 June June 2009
2009
09.30 09.30 am am Keynote Keynote Lecture Lecture 1: 1: James Chapman, "The Evolution of Bond; or Five Takes on Casino
Royale"
10.45 10.45 am am Panel Panel 1: 1: Bond Bond in in Context
Context
1.1 Barbara Korte, "Tough or Tongue-In-Cheek? Performing Bond under Changing Notions of Heroism"
1.2 Cordula Lemke, "Shaken, and not stirred": James Bond's Emotions"
01.30 01.30 pm pm Panel Panel 2: 2: Nationality Nationality and and and Class Class
Class
2.1 Luc Shankland, "James Bond's National Identity: A Matter of Class"
2.2 Khelifa Ben, Nadja & Jörg Sternagel, "Britishness and Scottish Identity in Early Bond Films: A
Postcolonial Reflection"
2.3 Christine Berberich, "In Her Majesty’s Special Service: Bond, Englishness and the Subversion of
the Gentleman Ideal"
Pa Panel Pa
nel 3: 3: Formula Formula Fiction?
Fiction?
3.1 Georgia Christinidis, "Of Human Bondage? Identity, Continuity and Verisimilitude in James Bond
and Doctor Who"
3.2 Anthony Metivier, "Is James Bond a Serial Killer?"
3.3 Stephan Laqué, "On Her Majesty's Secret Service? Bond's Integrity"
04.00 04.00 04.00 pm pm pm Panel Panel 4: 4: 4: Intertexts Intertexts
Intertexts
4.1 Amy C. Billone, " Live and Let Die: James Bond, Peter Pan, Dorian Gray and the Tragedy of
Eternal Youth"

Nieragden: ILCS 46
4.2 Joyce Goggin, "Diamonds are Forever and the Vegas Film Genre"
06.15 06.15 pm pm Reception Reception Reception at at Rathaus Rathaus and and Keynote Keynote Keynote LLecture
L ecture 2: 2: Andrew Lycett, "Making a Painful Split of
One’s Life: A Biographer's Reflections on Ian Fleming in Fiction and Reality"
08.00 pm Dinner (Casino restaurant)
Saturday, Saturday, 6 6 6 June June 2009
2009
09.00 09.00 am am Keynote Keynote Lecture Lecture 3: 3: Christoph Lindner, "The Future of James Bond Scholarship: 007’s
Nasty Habit of Surviving"
10.15 10.15 am am Panel Panel 5: 5: Contemporary Contemporary Bond
Bond
5.1 Alessandro Catania, "Bond Just Bond: Daniel Craig 007’s (Un)Popular Narratives"
5.2 Abigail De Kosnik, "M Stands for Mother: James Bond and Freudian Family Romance in Casino
Royale and Quantum of Solace"
Panel Panel 6: 6: Gender
Gender
6.1 Dan Ward, "'I Sized You Up The Moment I Saw You': Masculinity and Male Body Objectification in
Casino Royale"
6.2 Stefani Brusberg-Kiermeier, "Bond Girls or Bond Women? The Construction of Evil Femininity for
the Female Villains in the James Bond Films"
12.45 12.45 pm pm Panel Panel 7: 7: Popular Popular Culture
Culture
7.1 Monika Seidl, "One Silhouette is not enough: The World of Key Art and James Bond"
7.2 Lena Steveker, "007 meets Van Helsing: James Bond and Neo-Gothic Popular Culture"
7.3 André Nimtz, "All Bonds Unleashed: Musical Bondness and its Functions Within and Beyond the
Films"
Panel Panel 8: 8: New New New Bonds
Bonds
8.1 Tobias Hochscherf, "From Gentleman Spy to Hardboiled Detective: The Reinvention of James
Bond after 9/11"
8.2 Michael Latteck, "Trickling Down: Water Metaphors and Global Economy in Casino Royale and
Quantum of Solace"
8.3 Keren Omry, "An Authentic Body in Flux: Technology of Reproduction in the New Bond"
03.15 03.15 pm pm Panel Panel 9: 9: Space Space & & Tourism Tourism
Tourism
9.1 Claus-Ulrich Viol, "Quantum of Smoothness. Bond and Spatial Desire"
9.2 Susanne Schmid, "From the Costa del Sol to the Moon: James Bond's Tourist Locations"
9.3 Kirsten A. Sandrock, "Bond's Alter-Ego: Ian Fleming as 007 in Thrilling Cities"
07.30 pm Short Guided City Tour and Dinner in Metz
Sunday, Sunday, 7 7 June June 2009 2009
2009
10.00 10.00 am am Panel Panel 10: 10: Adaptations
Adaptations
10.1 Anette Pankratz, "The Spies Who Spoofed Him: Bond Parodies"
10.2 Hans-Joachim Backe, "Narrative Feedback: The Interplay of the James Bond Franchise and its
Successors"
10.3 Sonja Fielitz, "Something is out of Joint: Tracing the Ghosts of Fleming's 'Blofeld Trilogy'"
12.00 12.00 am am Workshop Workshop I: I: (with Paul Lumsden) "Teaching James Bond: Dr No"
02.30 02.30 02.30 pm pm Workshop Workshop II: II: (with Abigail DeKosnik) "Craig Bond: Masculinities and Action"
04.00 pm Final Address
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END OF SCRIPT