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COMENTARIO DE TEXTOS LITERARIOS EN LENGUA INGLESA PRUEBA DE EVALUACIN CONTNUA 1 (PEC 1) UNITS 1-3

NOMBRE: DNI: CENTRO ASOCIADO:

PART ONE Read the following extract carefully and indicate the correct answer: TRUE (a) or FALSE (b), according to the excerpt or the complete text it has been taken from. Each correct answer is 0.5 marks; 0.25 marks will be deducted for each blank / incorrect answer.

The author still reigns in histories of literature, biographies of writers, interviews, magazines, as in the very consciousness of men of letters anxious to unite their person and their work through diaries and memoirs. The image of literature to be found in ordinary culture is tyrannically centred on the author, his person, his life, his tastes, his passions, while criticism still consists for the most part in saying that Baudelaires work is the failure of Baudelaire the man, Van Goghs, his madness, Tchaikovskys, his vice. The explanation of a work is always sought in the man or woman who produced it, as if it were always in the end, through the more or less transparent allegory of the fiction, the voice of a single person, the author confiding in us.

1. In the extract, the author describes established notions that he challenges in the rest of the text. True (a) False (b) 2. According to the theorist who wrote the extract and the whole essay it belongs to, creative works (literature, art, music) should be analysed by reference to their authors lives. True (a) False (b) 3. The extract suggests that the poems of Charles Baudelaire are the perfect example of what the theorist calls the supression of the author. True (a) False (b) 4. According to the theorist who wrote this extract, the situation described results in readers identifying the literary text with the personality of the writer. True (a) False (b)

PART TWO Read the following extractsliterary texts (1) and (2)and then choose the right answer to questions 5-12 (a, b or c). Each correct answer is 0.5 marks; 0.25 marks will be deducted for each blank / incorrect answer.

Literary text (1) Never until the mankind making Bird beast and flower Fathering and all humbling darkness Tells with silence the last light breaking And the still hour Is come of the sea tumbling in harness And I must enter again the round Zion of the water bead And the synagogue of the ear of corn Shall I let pray the shadow of a sound Or sow my salt seed In the least valley of sackcloth to mourn The majesty and burning of the child's death. 5. As far as syntax is concerned, the verse lines above are unusual because of a. b. c. 6. the length of the object of the main verb. the absence of a subject in the sentence. the length of the phrase preceding the subject and main verb.

Regarding the poems sound, the main device is a. b. c. alliteration, as in mankind making. alliteration, as in still hour. the use of rhyming couplets at the end of each stanza.

7.

A deconstructivist analysis of this poem would a. b. c. elaborate on the poets expressive intention. give priority to the poems context and its tradition. primarily focus on unconscious contradictions in the text.

8.

According to Ryan, the poetic speaker a. b. c. does the opposite of the declaration implicit in the title. should read the poem against the grain. is successful in avoiding the language trap.

Literary text (2) Each screaming Get up! Stop dreaming! Roosters, what are you projecting? You, whom the Greeks elected to shoot at on a post, who struggled when sacrificed, you whom they labeled Very combative... what right have you to give commands and tell us how to live, cry Here! and Here! and wake us here where are unwanted love, conceit and war? 9. In the first stanza of the above extract a. b. c. 10. the voices of the roosters and the voice of the poetic speaker alternate. the voices of the two roosters that fight later in the poem alternate. the authors poses a direct question to her readers.

The dots (...) in Very combative... a. b. c. indicate that only the first two words of an aphorism are quoted. imply doubt that could be considered ironic. confirm that the author agrees with this description of the roosters.

11.

The phrase unwanted love, conceit and war a. b. c. is spoken by the roosters, proud of themselves. does not cohere with the characterization of the roosters in the poem as a whole. characterizes an abstract space dominated by the roosters.

12.

The roosters in the poem are commonly considered to represent a. b. c. doubt and treason (because of the association with Peter). the constraints and aggressiveness of patriarchal authority. the anxiety of authorship, which Elizabeth Bishop suffered.

PART THREE Read the following definitions and provide a matching term. Each correct answer is 1 mark. 13. A term used by Roland Barthes as an alternative to the traditional Author; a figure simultaneous with the text, with no existence before or beyond it. Not just a way of speaking or writing, but the whole mental set and ideology which encloses the thinking of all members of a given society. A term used by New Historicism to include historical texts that are given the same status as literary texts and are not subordinated as contextual. A term coined by the French theorist Hlne Cixous designating a form of writing associated with the feminine, and facilitating the free play of meanings within the framework of loosened grammatical structures.

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