e miljnonti exam :: literarna teorija 1ST PART :: POETRY PROSODY :: is the science of versification.

Its a fairly broad term that covers wide world of poetic terms, also of metre and stanza forms POETIC LANGUAGE/POETIC DICTION :: any form of expression of grammar which consists of FIGURES OF SPEECH. Figures of speech are divided into other subcategories; metaphoric expressions, rhetorical devices and sound effects. FIGURES OF SPEECH/FIGURATIVE LANGUAGE :: poetic language concerns any form of expression or grammatical form which deviates from the most general language WHEREABOUTS OF THE POETS :: is the poet possibly in the poem or does he reside outside the poem (is he a protagonist or not) When I have fears that I may cease to be (e.g.) an autobiographic poem. A poem in which the speaker of the poem is the poet himself. The poem is alive. You have to treat it as something eternal. THE IMPLIED READERSHIP OF THE POEM :: STATUS OF THE POEM IN RELATION TO SOCIETY :: what position does a certain poem hold in society. Poem having a certain position in a society and in a particular society; whether the poem is critical or supportive e.g. Steven Spender :P; Moving through the silent crowd critical of social, political, economic circumstances; left wing author after the WW2, political ideological manifesto Walt Whitman; Leaves of grass no criticism THE STATUS OF THE POEM IN LITERARY TRADITION :: every poem somehow follows the tradition and somehow breaks the tradition. Shakespeare, Sonnet 130 very strongly against the tradition of Elizabethan sonnets, he wanted to write a parody Edmund Spenser, Amoretti dead serious in his descriptions SONORITY SONOROUS :: which sounds ASSONANCE :: repetition of vowels after the last accented syllable CONSONANCE :: repetition of the same final consonant in the accented syllables and neighbouring words EUPHONY EUPHONIOUS :: sounds pleasantly, nice to the ear, gentle, sweet, soft. Is a such a combination of words which sound pleasantly smooth and musical to the ear (s,,l normally produce this euphony). CACOPHONY CACOPHONOUS :: the opposite of euphony, An arrangement of words which create harsh sound and it doesnt sound that smooth, its often hard to pronounce. (r is used a lot for example the raven) ALLITERATION :: a sequence of repeated consonant sounds frosty fingers COLLOCATION :: nonstandard c.(busy heart) standard c. (weak heart) METAPHORS :: many phrases today dont anymore stand as metaphors blue blood, new blood/old blood: new personnel. JUXTAPOSITION :: to juxtapose a verb=to place side by side, sopostavitev/sopostavljanje PERSONIFICATION :: the verb is personified ANIMATION :: the verb is turned into an animant one ONOMATOPOEIA ONOMATOPOETIC :: imitating the sounds from nature. It comes from William Yeatss poem The Lake Isle of Immisfree ENJAMBMENT = RUN ON LINE :: semantic or grammatical extension in the following line INTER-DEPENDANCE :: every line depends on another line BLANK VERSE :: unrhymed iambic pentameter EPIGRAM :: poem consisting of only one couplet (very short) IRONY:: indispensable textual element; what distinguishes a good writer from a bad one; - if you want to avoid being pathetic, emphatic, sympathetic, you can use irony and keep distance from the topic; is more objective the term refers to a contrast, discrepancy between appearance or reality can take a number of different forms DRAMATIC IRONY :: a state of affairs known to the reader, audience is the reverse what it is suppose to be (King Oidipus-Sofokles) SITUATIONAL IRONY :: a set of circumstances is reverse to what is expected appropriate VERBAL IRONY :: contrast between what is literally said and what is meant; most common denotative meaning; dictionary explanation connotative meaning ; purpose of using a word, the usage

EXAGGERATION/HYPERBOLE/OVERSTATEMENT :: reading between the lines, take the opposite meaning from what it is said; a special effect that has a humorous touch; primarily to amuse the reader UNDERSTATEMENT/FITOTES/MEIOSIS :: the opposite of hyperbole, undervalues, underestimates, tells too little INTERTEXTUALITY :: intertextual link to other sources; complex inter-relationship between a text and other texts (theyre in a complicated relationship :P) taken as basic of the creation or interpretation of a text BATHOS :: sudden, unexpected change AMBIGIUITY :: use of the word that carries 2 or more different meanings, can be found also in everyday situations although not always welcomed, in poetry is welcomed food for thought, it achieves also an ironic effect; ambiguity is achieved with homonym (a pun, wordplay) WORDPLAY :: - homophony relies on phonetic phonological properties; when you listen to a text HOMONYM :: same spelling or pronunciation, different meaning A PARADOX :: ambiguity that plays with ideas; statement that is true in some sense but at first appears absurd and contradictive; operates on a larger scale: on the textual scale e.g. the second coming sb walks somewhere to be born OXIMORON :: when expressed in 2 words (living dead, a little giant) METONIMY SIMILE :: AS or LIKE .. The feature that bonds tenor and vehicle together is TERTIUM COMPARATIONIS

ANADIPLOSIS _____x x_____ RHETORICAL QUESTION :: the answer isnt expected and its presumed

ANAPHORA x_____ x_____

GENRE :: 3 major genres; poetry, prose/fiction, drama + numerous subgenres(novel, sonnet, ...) Perplexed = confused Metric foot = stopica (no shit) POETIC METRE :: monometer = 1 foot pentametre dimetre = 2 feet hexametre trimetre = 3 feet heptametre tetrametre octametre U = nenaglaen; - = naglaen U- : iambic foot/IAMB -U : TROCHEE, TROCHAIC -- : SPONDEE, SPONDAIC UU : PYRRHIE -UU : DACTIL, DACTILIC UU- : ANAPEST, ANAPAESTIC U-U: AMPHIBRACH, AMPHIBRAIC

| U- | U- | U- | U- | acatalectic perfect | -U | -U | -U | - catalectic | U- | U- | U- | U hypercatalectic

TRADITIONAL VERSE FORMS FIXED STANDARD BLANK VERSE :: unrhymed iambic pentametre (1557; Henry Howard, in translation of Vergils Aneid, in Shakespeares plays) A COUPLET :: smallest possible stanzaic form (2 lines)-complete thought expressed through 2 lines; closed couplet(Alexander Pope,Gwendolyn Brooks-We real cool) EPIGRAM :: is a poem consisting of 1 and only couplet (short, sharp, witty) TERCET :: 3 line stanza TRIPLET :: all 3 lines rhyme together (a,a,a..) TERZA RIMA :: form of 3 rhyme stanza (Dante) rhyme: aba bcb cdc (Phillip Lankin-Whatever happened) QUATRAIN :: 4 line stanza, most common in english poetry. 1st and 3rd line are tetrametres, the 2nd and the 4th are trimetres. poetic form that uses quatrains is a ballad QUINTETS :: stanzas of 5 lines (Waller) SESTET :: 6line stanza (Shakespeare-Venus and Adonis), rhyme: abab + cc, dede + ff SEPTET :: 7 line stanza, rhyme royal: ababbcc (used for serious themes) (Shakespeare-rape of lucrece, Auden-Letter to lord Byron) iambic pentameter OCTET :: 8 line stanza, OTTAWA RIMA, a b a b a b c c (lord Byron-don juan 9 LINE SPENSERIAN STANZA :: most intricate, 1590 1st used in a long epic poem Faerie Gueene 8 lines of iambic pentametre + final line of iambic hexametre (Alexandrine) ababbcbc + c 2ND PART :: FICTION a product of their imagination (narrative in verse or prose) - fiction also encompasses plays special type of fiction (narrative poems, folktales, allegories, romance, satires) fiction: about the way of treating the subject matter and the way it relates to reality - VERSIMILITUDE :: LIFELIKENESS :: how realistic it is; how closely it imitates reality Subgenre: fiction faction novel/ journalistic novel NOVEL :: - 1st in 17th cent in Spain(Don Quixote, 1605-1615)(innovative, revolutionary, puts an end to chivalric romance by parodying the lady) , then emerged in the 18th century especially in England - The centre is set around the hero he has to fulfil a lot of tasks changed when modern novel brought individualism; the manner of expression is broader.

Predecessors: Aeneid (Vergil, 13-19 BC); Odyssey & Iliad (Homer, 7th cent. BC), Divine Comedy (Dante, 1307-1321-medieval period),

E.g :: Joseph Andrews (Henry Fielding, 1742 a comic romance, also a comic epic in prose, basically a novel), Robinson Crusoe(Daniel Defoe, 1718), Pamela & Clarissa (Samuel Richardson, 1740/41 & 1748/49) Modern epics: Faerie Queene (Edmund Spenser, 1590-1596), Paradise lost (John Milton, 1667) - wordview (Weltanschaung) a unified universal wordview was presented with which everybody agree MODERN NOVEL: wordview changed when modern novels were brought, individualism, individualistic perspective of the world; provided space for the reader to agree or disagree; the manner of expression is broader than before Written in verse It distinguishes from other works in : length, structure, characterization of heroes Early romance was the beginning of a modern novel Marks the beginning of a new literary genre that replaced the epic ROMANCE: the scope is usually broad, it stresses to a single problem; the protagonist is depicted in detail and care; it has linear structure PICARESQUE NOVEL :: conflict with social norms BILDUNGS ROMAN :: development of protagonist from childhood to maturity EPISTOLARY NOVEL :: a novel in letters; Letters as a means of 1st person narrator. HISTORICAL NOVEL :: actions that take place in history NEW JOURNALISM :: reworks real events in a new way SATIRICAL NOVEL :: UTOPIAN NOVEL :: creates alternative worlds to criticize socio-political circumstances GOTHIC NOVEL :: DETECTIVE NOVEL :: SHORT STORY :: concise form, emerged as individual works. Addresses the educated middle class, published in magazines, journals, newspapers. One centre action, often begins in media res, flashbacks. One location, usually one perspective. PLOT Balance must be broken for a plot to begin. INTERNAL CONFLICT :: within protagonist, the issue in the protagonists self conflict EXTERNAL CONFLICT :: protagonist is placed against other forces

1)exposition 2)complication 3)crisis 4)falling action 5)resolution/conclusion EPIPHANY :: sudden recognition of the state of affairs, sudden revelation CHARACTERIZATION :: - PROTAGONIST = central/ main character; + and traits ANTAGONIST = person who strongly opposes sb/sth; more difficult to identify, it is not a human being (hero or villain) (?) ROUND CHARACTER = a lot of qualities, multidimensional characteristics, considerable intellectual and emotional capacities, can grow and change.

FLAT CHARACTER = a single characteristic idea or limited number of them, one-dimensional, dont grow and change, appears again and again, common in stock character DYNAMIC PROTAGONIST = in most novels, the events slowly portray the change TELLING :: direct commentary by the author Characterization through the use of names and appearance SHOWING :: characters evolve through dialogue what he say, action what he does, tone of speaking, egoist/gossip, circumstances: day/night reveals more HERO/HEROINE :: person who is admired by many people for doing something good or/and brave. Person you admire because of particular quality or skills. ANTIHERO :: main character in the story, but one who does not have the qualities of a typical hero and is either more like an ordinary person or is morally bad.

NARRATIVE PERSPECTICE / POINT OF VIEW 3RD PART :: PREGLED POEMS