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| The text used to analyze the primary text and put it in a context |
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| When texts echo other texts; the examiniation of how literary texts build on other texts. |
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| When one examines the material ways literature appears in time.A field of critiscm that coners production (how it was shown to the public), editing, trasmition (how it moves through the world), and preservation (how copies of the text survive) of texts. One area of the study of material culture |
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| A reader who proves they are intelligent about the literature. |
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| The doctrien that an idea can be understood in terms of practical consquences hence, the assessment of the truth or validity of a concept or hypothesis according to the rightness or usefulness of its practical consequences. |
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| Acute observation of the particularities of the text |
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| A literary work has its own rules taht binds it to itself |
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| A comparison where one this IS another |
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| A comparison with LIKE or AS |
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| In literary criticism, the fallacy that the meaning or value of a work may be judged or defined in terms of the writers intention |
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| An unreliable or false statement. |
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| Anything printed or written. The thing under scrutiny. Literary works are primary |
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| Refers to what surrounds the literary work. The issues external to the work: historical context or critical context |
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| Shape of something. Shape or arrangement of parts. Particular mode in which a thing exists or manifests istelf |
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| When writing talks about a visual objects |
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| The science or study of being; that branch of metaphysics concerned with the nature or essence of being or existence |
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| The theory or science of the method or grounds of knowledge |
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| The view or theory that self is the only object or real knowledge or the only thing really existent |
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| What the author says they meant. |
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| How the text reflects or departs from it's time. |
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Direct: the author is shown to have direct contact with the outside force/subject
Indirect: An author is touched second hand somehow |
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| The arguement that there was somethign "general" that influenced an author, such as trends in a culture. |
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| "Ad hoc, ergo propter hoc" Fallacy |
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| The fallacy that because something happened after an event, it was somehow influenced by it. |
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| Serving to find out of discover. A method of teaching in which stuents are placed as discoverers. They are made to find out things rather than being told them. |
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| A question posed without the expectation of a reply. A question posed in order to affirm a position |
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| The state of being other or different; diversity; "otherness" |
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| The attribution of an essential set of characteristics to a culture or a set of people |
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| Refers to the historical effects of colonialism |
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| Attends to the analysis of/engages issues associated with the rise, fall, and crawl of colonialism. |
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| Greek word meaning make/creation |
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| When a thought/clause carries from one line to another |
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| The structures of the rhythms of speech in writing |
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| The patterns of poetic rhythm |
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Syllabic
Accentual
Accentual-Syllabic
Quantitative |
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| A pattern that examines the number of syllables and their stresses/accents |
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| Basic unit of poetic rhythm |
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| Unstressed, Unstressed, Stressed |
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| Stressed, Unstressed, Unstressed |
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| The marking of stressed and unstressed syllables and patterns of repitition |
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| A rhyme scheme using the last syllables of the word |
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| A rhyme scheme using 2 or more syallbles of a word, the last one being usually unstressed |
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| Repitition of vowel sounds |
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| Repitition of conssonant sounds |
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| Repitition of beginning syllables |
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| Rhyme scheme of ABAB CDCD EFEF GG |
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| Rhyme Scheme of ABA BCB C |
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| A list of things without conjuctions |
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| The attribution of human emotions to animals or inanimate things, especially in art and literature |
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| An adress to a dead or absent person, an animal, a thing, or an abstract idea or quality as if it were alive, present, and capable of understanding |
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| A pause or breathing place about thte middle of a metrical line, generally indicated by a pause in the sense |
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| Rhymes embedded within the lines |
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| Correspondence or repetition of vowel sounds and followin consonants before the vowel. |
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| Form of expression, grammatical construction, phrase, etc., peculiar to a language; a peculiarity of phraseology approved by the usage of a language and often having a signification other than its grammatical or logical one |
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| Any principle or precept expressed in few words; a short, pithy sentence containing a truth of general import; a maxim |
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| Part is substituted for the whole; or an individual genus, or class characteristic is substituted for its species |
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| One word is substituted for another on the basis of some material, causal, or conceptual relationship |
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| An edition, especially of the complete works of a classical author, containing the notes of various commentators or editors. Also used to doenote an edition, usually of an author's complete works containing variant readers from manuscripts or earlier editions |
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| "the nature of poetry". A single poem speaking to poetry |
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| Literary or artistic works produced in the author's youth |
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| "In a Station of the Metro" |
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| "Impressionism and Sybolism in Heart of Darkness" |
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| "Conrad, Casement, and the Congo Atrocities" |
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| "An Image of Africa: Racism in Conrad's Heart of Darkness" |
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| "Heart of Darkness and Racism" |
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| "Imperialism, Impressionis, and the Politics of Style" |
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"Marianne Moore's Revision of 'Poetry'"
"Poetry: A Variorum Edition" |
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| "The Artists as Armored Animal" |
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| the totality of all possibly statements. Governs what you do and don't say. Lexicon of speech. Foucalt says that discourse gets controlled/affected by powers once in a culture. |
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| The "science" pertaining to the production of fine offspring, especially in the human race |
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| The idea that human races originated from different lineages. Polygeneticists mgiht argue for race as species. |
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| The idea that human races originated from the same lineage. |
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| a covert, implied, indirect or passing reference. |
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- the past feautres prominently
- vaguely supernatural elements
- architecture figures prominently |
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- Detective Story/mystery
- The Western
- The Romance
- Horror
- Sci-fi |
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| Good and evil are embodied |
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| The unknown can be malovelent in form |
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| Nature and culture become cunfused. Asks what does it mean to be human? |
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| Argues for the primacy of an internal structure in every facet of life |
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| A person interested in structure or narrative (kind of structuralism) |
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| That which has been pilfered or stolen with a playful elegance or classed quality. 16th Century word. |
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| The term for a literary device in which a story starts "in the middle of things" |
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| The action or process of reasoning, especially deductively or by using syllogisms. |
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| The science of how mind or psyche works. |
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| A branch of psychology founded by Sigmund Freud which focuses on a spectrum of health/mental health, concerned with the psychopathology of everyday life. |
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| a distribution of psychic energy. a direction of energy that creates a connection between two objects. |
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| Aspect of mind in which there is only want and satisfaction of want. Seat of primal desire. |
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| Rules and regulations dominate. Civilization in its pure form. The conscience. |
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| Mediates between the Id and Super-Ego. Tries to reconcile the needs of teh two. |
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| A way to access the unconcious mind - were a patient says every little thing that comes into their mind and an analysist analyizes it. |
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| What is beneath concious behavior. What one doesn't have access to conciously, is revealed in dreams, Freudian slips, etc. |
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| First step of infantile sexual development. Mouth focused. Occurs within first 5 years of life. |
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| Second step of infantile sexual development. Focused on control of bodily functions. Occurs within first 5 years of life. |
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| Third step of infantile sexual development. Where the infant understands the difference between male and female. Source of Oedipal and Electra complexes. Occurs within first 5 years of life. |
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| Phase in infantile sexual development where no change occurs. Between the Phallic and Genital Phase. |
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| When a subject focuses on something in order to forget the castration of the mother. A way to calm castration anxiety. |
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| When an idea or objects intensity can be detached from one object and redirected to some other object. Detaching and reattaching an associative chain. |
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| When a single figure or idea represents several associative chains |
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| Relationship between father, boy, and mother - about the usurping of the father by the child |
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| The momen in which the child sees their parents having sex |
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| The repetition of certain things over and over again without intent. |
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| Lacan focuses on the automatic response. This process originates in the unconcious. When a subject places themselves in a dangerous position they have been in before, not remembering what the original scene was. For Lacan, the search for an object that has been lost. Tied to the death instinct. |
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| Drive to death. About conserving energy to the point of being inanimate. |
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| Is what keeping the signifying chain moving. The point at which an infant keeps suckling after hunger has been satisfied. An excess of need. Never what you have in fornt of you; desire is always somewhere else |
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| The science and study of signs |
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| When, at around 6 months of age, a baby shifts from being pure impulse when they see themselves in a mirror and identify themselves as a uniified entity. When it sees itself being seen it becomes an ego. |
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| Stages/Zones into which the self enters. Real, Imaginary, and Symbolic. |
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| The world that exists outside or before language |
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| A realm in which there is no clear deliniation between subject and object (mirror stage exposed as fantasy) |
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| Language. Where it occurs, the space in which the subject is formed. No subject outside of language. A place of laws and rules. |
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| The phallus. what creates meaning and the source of power. What brings together signifier and signified. |
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| (phallus-centered-ness) Charge that a theory or way of thinking takes the idea of the phallus as a central organizing motif |
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| An entity subjected to laws of symbolic order. Passed through imaginary. A reflection of a developmental level/stage. |
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| The Philosophical/Grammatical Subject |
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| A "being" or "I" of "self". |
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| Reflection of Power Subject |
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| Something subjected to the laws of another. |
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| Sees that the first sees nothing and deludes itself into thinking it can not be seen. |
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| Sees what is not being seen and takes it. |
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| Intersubjective Relationship |
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| The connection between two or more people. |
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| other, the little other, the big Other |
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| The egoes projection of itself while still in the imaginary |
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| Another person concieved in a communal relationship to itself. |
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| Symbolic other. That to which the subject is subject. that which melds together the signifier and the signified. |
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| Charge that a theory/way of thinking privileges the Word ("logos") over speech. Derrida. |
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| The privileging of speech over writing. Lacan. |
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| A form of langauge unhindered by the difference between speaking and writing. |
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| New word. A word or phrase which is new to the language, one which is newly coined. |
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| Something subordinate or accesory to the main subject. Hence, more generally: ornamental addition, embellishment. For Derrida, it inscribes something which comes as an extra, exterior to the proper field. For Kant, it's grace or mystery - the extra. |
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| The art or science of interpretation, especially of scripture. Commonly distinguished for exegesis or prachical exposition |
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| A stand in for the writer who was once there but is no longer there. Signifies a future non-presence. |
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| School of European/American criticism founded by Derrida. Takes the text as a sight of endless play and signification. Text doesn't have a fixed or universal meaning. |
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| meaning is something that gets spread around. Enacts the play of meaning. |
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| "Marianne Moore and Eugenics" |
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| "Seminar on 'The Purloined Letter'" |
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| "Lacan's Seminar on 'The Purloined Letter': Overview" |
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| John P. Muller and William J. Richardson |
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| "Selections from The Life and Work of Edgar Allan Poe" |
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| "It reconnoitered like a battle-ship. Disbelief and conscious fastidiousness were ingredients in its disinclination to move." |
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| Critics and Connoisseurs, Marianne Moore |
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| "but in plain American which cats and dogs can read! The letter a in psalm and calm when pronounced with the sound of a in candle is very noticeable" |
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| "One perceives no flaws in this emblematic group of nine, with leaf window unquilted by curculio" |
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| Nine Nectarines, Marianne Moore |
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| "truth must be dark. Principally throat, sophistication is as it always has been - at the antipodes from the initail great truths" |
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| In the Days of Prismatic Color, Marianne Moore |
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| "The Murder in the Rue Morgue" |
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| "The Morphology of the Folk Tale" |
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| Anthropologist Structuralist - "the raw" and "the cooked" |
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| "The Uncanny (Unhemliech)" |
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| Jacques Derrida, 1966 Johns Hopkins |
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| "Structure, Sign and Play in the Discourse of the Human Sciences" |
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| "Blindness and Insight: Allegories of Reading" |
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| "Signature Event Context" |
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| An object endowed with sexual potency |
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| The space in which a subject can have access to certain chains of associations under certain circumstances |
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