Teoría de la Literatura

Esta iniciativa nació tras ver los dolores de cabeza que esta asignatura provocaba en prácticamente todos mis compañeros. A mi tampoco me dio pocos, pero fueron tan dulces que consiguieron que me enamorara de esta asignatura. Así que decidí que, para suavizar las noches de insomnio y poder comprender mejor una asignatura con tantos giros laberínticos como esta, colocar mis apuntes de clase y resúmenes de libros de teoría e historia literaria, recomendaciones para estudiar y algún truco. Mi intención es ayudar a aprender Teoría de la Literatura, en un nivel básico, de primer ciclo de carrera, y si de paso, consigo enganchar a alguien a esta fascinante materia, habré superado todas mis expectativas.

Espero que no sea muy ambiciosa.

Estará estructurado en 7 temas, además de uno introductorio, aunque no descarte hacer nuevas divisiones para facilitar la búsqueda. Desgraciadamente, la parte práctica es más cosa de justamente eso, practicar, analizar e interpretar muchos textos, y se hacen mejor con la ayuda directa de un profesor, y me temo que no puedo decir mucho sobre al respecto. La teoría en cambio, es otra cosa. Por supuesto, lo que aquí transcribo no son mis ideas, sino las que he sacado de clase y de los libros que por interés propio me he leído. Así pues, haré a ellos referencias continuas, y si los leéis mejor, aunque entonces esta página no valdría de mucho. Pero si os resultaran lecturas demasiado densas (y algunas lo son), o tenéis poco tiempo, o –si es que eso es posible- preferís mi forma de explicarlo, aquí tenéis las ideas fundamentales que trataré de explicar lo mejor que pueda.

Etiquetas: Bienvenidos

“Menuda pregunta. La literatura pues son...los libros que se venden en las librerías. ¿Las recetas de cocina son literatura? Ah pues no. Entonces son los libros que están en la biblioteca. Pero allí también hay libros de recetas de cocina. Hombre, si están bien escritos... ¿Bien escritos, a qué te refieres? A que usen un lenguaje especial, no sé, muy cuidado, no como el que se habla en la calle. ¿No será que eso es literatura? Pues puede ser...pero los escritores escriben como les da la gana. Vamos que he leído libros que de lenguaje cuidado nada, como tú o como yo, por ejemplo algunas obras de teatro. Bueno, en los libros se cuenta algo, ¿no? Algunos no cuentan mucho, creo yo. ¿Las poesías cuentan realmente algo? Relatar no relatan, no...La verdad no tengo ni idea, ¿no puede ser un poco de todo? Es una posibilidad...pero luego está eso de la calidad, si la tiene es literatura y si no, pseudoliteratura... ¿Pseudoliteratura? Eso puede ser demasiado subjetivo, la cosa cambia según el gusto de la época, y las modas. Uf, yo me rindo, no sé qué es literatura. Lo que el profesor me diga.”

This is the summary of a presentation I have done about The Fall of the House of Usher.

The unity of effect is a unity of tone

Looking for information I found out that Poe believed that the best way to obtain a certain effect on the reader was to keep a unity of tone through the whole text. I think that this principle is perfectly illustrated in this tale.
Each detail is strategically designed to introduce us inside the story, just as the narrator is introduced in the House of Usher.

Gothic setting: irrational fear. Its reflection on the narrator.

This is a Gothic setting, and provokes an irrational fear that attacks common sense, as we can see in the mental condition of the narrator (expressed in page 1 “I know not how it was-but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit”). He is the representative of the civilized society, who goes into a mysterious place –because we do not know where the Ushers live, but it is suggested that the house is placed far away from any city (page 1, “passing alone, on horseback, through a singularly dreary tract of the country”).

Description of the House of Usher –skull-like. Reflect of Roderick.

The House

Etiquetas: Poe

Wuthering Heights has a very complicated narrative structure. There are two clear narrators, but the novel is almost a drama, that is to say, dialogue plays a great part.

Different levels of narration construct the story, not by the usual way of telling the same events from different perspectives, but the participation of characters helps in understanding what happens. It could be said that, instead of a multi-perspective story, this is a multi-layered story. We need to connect every part to obtain a global comprehension. But, at the end, some points remained unexplained (for example, where Heathcliff was born, how he got his money, if Catherine was really a ghost or not...) and even the narrators are not so reliable as they may seem to be –because they are also characters involved in the plot, not omniscient narrators.

In the novel we find two times of reference:

-a “present narrative”, that is a kind of “present time”, when Lockwood rents Thrushcross Grange, meets his landlord, Heathcliff, and asks Nelly Dean to tell him the story of his landlord.

-a “past narrative”, that is a kind of “past time”, where the events told by Nelly Dean took place.

Both are interrelated and got mixed during the novel, since the action extends to the present narrative, and the book opens when it is

Etiquetas: emily, brontë

Araby tells the story of a young boy in his way to aldulthood, who lives with his uncle and aunt in a house previously occupied by a priest. He is in love with the sister of one of his friends, Mangan. He never dare to speak to her, until one day she asks him if he is going to Araby, a bazaar. She cannot go because she has to attend to a retreat (a devotional meditation) at her school. The narrator promise to buy her something if he goes.
The following day he cannot think about anything else than going to Araby and buy Mangan’s sister some nice staff to impress her. But his uncle forgets about the bazaar and the day he planned to go he arrives late, possibly because he had been drinking. By the time the boy arrives to the bazaar, it is almost closed and he cannot find anything to show Mangan’s sister his love for her, feeling miserable.

The main character is also the narrator, an unnamed boy who has been believed to be the same in the first three tales. He seems to be telling the story as a recollection, because he recognizes behaviours and feelings, and uses a vocabulary in a way that teenager could not do. In fact, when he realizes something at the age he had on the tale, he remarks this, for example when his uncle returns late and drunk, and he says “I could interpret these signs”. The boy is sensitive, a good student as we can deduce from the changes in his teacher’s face when he notices the narrator being idle in class (in the third page of the story “I answered few questions in class. I watched my master’s face pass from amiablity to sterness; he hoped I was not beginning to idle.”)

He never told us his lover’s name. He talks about her as Mangan&rsqu

Etiquetas: Araby, Dubliners, Joyce