https://wiki.angl-am.uni-oldenburg.de/wiki/api.php?action=feedcontributions&feedformat=atom&user=ClaudiaK%C3%83%C2%BChn 2026-04-17T17:07:16Z User contributions MediaWiki 1.43.8 https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14533 2008-06-27T10:47:48Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> <br /> ''Shared features''<br /> <br /> - some kind of historical reference '''(eigentlich wollten wir sagen: wie auch immer gearteter historischer Bezug, kann das aber nicht richtig übersetzen)'''<br /> <br /> - romantic elements <br /> <br /> - intrigues and treacheries<br /> <br /> - young and inexperienced protagonists<br /> <br /> - imply morals, worldly wisdoms, manners<br /> <br /> - cultural aspects linked to setting and place<br /> <br /> - sociological oriented writing of history<br /> <br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> ''1. For whom were these pieces written?'' <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> <br /> literary community and market grow<br /> <br /> Scott states that he wants to create a novel for Scottland<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> T.T.: entertainment, worldly wisdoms <br /> <br /> C.D.: remittance work, social criticism, ideological view on history, moral?? <br /> <br /> W.: promote national ideal, (money??), presentation of history <br /> <br /> --&gt; functionality of the novel, going beyond entertainment, reach sth.<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> T.T.: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience <br /> <br /> C.D.: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories <br /> <br /> W.: Patriotism, authenticity, description of space, mediocre hero, identification<br /> <br /> --&gt; narrtive fiction develop to historical novel (in Borgmeier's sense ???)<br /> <br /> = Questions for discussion =<br /> <br /> 1. How does the concept of history (in these novels) change over the course of time?<br /> <br /> 2. What justifies Borgmeier's assumption that Waverley should be regarded as the first historical novel, why not Tudor? '''Falls das hier noch wer besser formulieren kann, nur zu!'''<br /> <br /> 3. Is it useful to design a &quot;Gattungsmodel&quot;, if there can only be found few similarities and umpteen differences within the genre? Can we actually speak of a Gattung in this context?<br /> <br /> 4. Questioning you as the adressed and informed reader: Could you might think of a better term than &quot;historical novel&quot; to refer to and to describe this type of genre?</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14532 2008-06-27T10:35:10Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> ''1. For whom were these pieces written?'' <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> <br /> literary community and market grow<br /> <br /> Scott states that he wants to create a novel for Scottland<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> T.T.: entertainment, worldly wisdoms <br /> <br /> C.D.: remittance work, social criticism, ideological view on history, moral?? <br /> <br /> W.: promote national ideal, (money??), presentation of history <br /> <br /> --&gt; functionality of the novel, going beyond entertainment, reach sth.<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> T.T.: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience <br /> <br /> C.D.: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories <br /> <br /> W.: Patriotism, authenticity, description of space, mediocre hero, identification<br /> <br /> --&gt; narrtive fiction develop to historical novel (in Borgmeier's sense ???)<br /> <br /> = Questions for discussion =<br /> <br /> 1. How does the concept of history (in these novels) change over the course of time?<br /> <br /> 2. What justifies Borgmeier's assumption that Waverley should be regarded as the first historical novel, why not Tudor? '''Falls das hier noch wer besser formulieren kann, nur zu!'''<br /> <br /> 3. Is it useful to design a &quot;Gattungsmodel&quot;, if there can only be found few similarities and umpteen differences within the genre? Can we actually speak of a Gattung in this context?<br /> <br /> 4. Questioning you as the adressed and informed reader: Could you might think of a better term than &quot;historical novel&quot; to refer to and to describe this type of genre?</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14509 2008-06-26T20:07:13Z

<p>ClaudiaKühn: /* Questions for discussion */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> ''1. For whom were these pieces written?'' <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> <br /> literary community and market grow<br /> <br /> Scott states that he wants to create a novel for Scottland<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> T.T.: entertainment, worldly wisdoms <br /> <br /> C.D.: remittance work, social criticism, ideological view on history, moral?? <br /> <br /> W.: promote national ideal, (money??), presentation of history <br /> <br /> --&gt; functionality, going beyond entertainment, reach sth.<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> T.T.: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience <br /> <br /> C.D.: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories <br /> <br /> W.: Patriotism, authenticity, description of space, mediocre hero, identification<br /> <br /> --&gt; narrtive fiction develop to historical novel<br /> <br /> <br /> <br /> = Questions for discussion =<br /> <br /> 1. How does the concept of history (in these novels) change over the course of time?<br /> <br /> 2. What justifies Borgmeier's assumption that Waverley should be regarded as the first historical novel, why not Tudor? '''Falls das hier noch wer besser formulieren kann, nur zu!'''<br /> <br /> 3. Is it useful to design a &quot;Gattungsmodel&quot;, if there can only be found few similarities and umpteen differences within the genre? Can we actually speak of a Gattung in this context?<br /> <br /> 4. Questioning you as the adressed and informed reader: Could you might think of a better term than &quot;historical novel&quot; to refer to and to describe this type of genre?</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14508 2008-06-26T20:02:50Z

<p>ClaudiaKühn: </p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> ''1. For whom were these pieces written?'' <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> <br /> literary community and market grow<br /> <br /> Scott states that he wants to create a novel for Scottland<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> T.T.: entertainment, worldly wisdoms <br /> <br /> C.D.: remittance work, social criticism, ideological view on history, moral?? <br /> <br /> W.: promote national ideal, (money??), presentation of history <br /> <br /> --&gt; functionality, going beyond entertainment, reach sth.<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> T.T.: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience <br /> <br /> C.D.: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories <br /> <br /> W.: Patriotism, authenticity, description of space, mediocre hero, identification<br /> <br /> --&gt; narrtive fiction develop to historical novel<br /> <br /> <br /> <br /> = Questions for discussion =<br /> <br /> 1. How does the concept of history (in these novels) change over the course of time?<br /> <br /> 2. What justifies Borgmeier's assumption that Waverley should be regarded as the first historical novel, why not Tudor? '''Falls das hier noch wer besser formulieren kann, nur zu!'''<br /> <br /> 3. Is it useful to design a &quot;Gattungsmodel&quot;, if there can only be found few similarities and umpteen differences within the genre. Can we actually speak of a Gattung in this context?<br /> <br /> 4. Questioning you as the adressed reader,</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14507 2008-06-26T19:48:55Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> ''1. For whom were these pieces written?'' <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> <br /> literary community and market grow<br /> <br /> Scott states that he wants to create a novel for Scottland<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> T.T.: entertainment, worldly wisdoms <br /> <br /> C.D.: remittance work, social criticism, ideological view on history, moral?? <br /> <br /> W.: promote national ideal, (money??), presentation of history <br /> <br /> --&gt; functionality, going beyond entertainment, reach sth.<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> T.T.: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience <br /> <br /> C.D.: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories <br /> <br /> W.: Patriotism, authenticity, description of space, mediocre hero, identification<br /> <br /> --&gt; narrtive fiction develop to historical novel</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14506 2008-06-26T19:48:22Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> ''1. For whom were these pieces written?'' <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> <br /> literary community and market grow<br /> <br /> Scott states that he wants to create a novel for Scottland<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> T.T.: entertainment, worldly wisdoms <br /> <br /> C.D.: remittance work, social criticism, ideological view on history, moral?? <br /> <br /> W.: promote national ideal, (money??), presentation of history <br /> <br /> --&gt; functionality, going beyond entertainment, reach sth.<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> T.T.: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience <br /> <br /> C.D.: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories <br /> <br /> W.: Patriotism, authenticity, description of space, mediocre hero, identification<br /> <br /> --&gt; narrtive fiction develop to historical novel</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14505 2008-06-26T19:42:03Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> ''1. For whom were these pieces written?'' <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> <br /> literary community and market grow<br /> <br /> Scott states that he wants to create a novel for Scottland<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> T.T.: entertainment, worldly wisdoms <br /> <br /> C.D.: remittance work, social criticism, ideological view on history, moral?? <br /> <br /> W.: promote national ideal, (money??), presentation of history <br /> <br /> --&gt; functionality, going beyond entertainment, reach sth.</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14504 2008-06-26T19:32:06Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> <br /> 1. For whom were these pieces written? <br /> <br /> T.T.: educated reader but not academics or scholars <br /> <br /> C.D.: narrowed, conservative group of scholars <br /> <br /> W.: scholars, the public, maybe especially English --&gt; patriotism <br /> <br /> --&gt; broader group of audience adressed<br /> literary community and market grow<br /> Scott states that he wants to create a novel for Scottland</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14503 2008-06-26T19:28:01Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public<br /> <br /> <br /> ''Preface''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface <br /> <br /> C.D.: preface, introduction of the characters, prospect previous to each chapter, retrospect<br /> <br /> W.: general preface, several short prefaces, postscript, Scott mentions his life in the general preface <br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14502 2008-06-26T19:23:23Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space<br /> <br /> <br /> ''Author''<br /> <br /> T &amp; T: no author is named, just the publisher<br /> <br /> C.D.: author is afraid of telling his real name because of the critics<br /> <br /> W.: Scott wanted to stay anonymous at first; later his name became public</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14501 2008-06-26T18:28:49Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> <br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> <br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> <br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14500 2008-06-26T18:28:25Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> Tachmas: 1 book <br /> <br /> Tudor: 2 books <br /> <br /> Charles Dacres: 6 books, 2 volumes <br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter <br /> <br /> --&gt; books become more complex <br /> <br /> <br /> <br /> ''Time'':<br /> T &amp; T: Not bound to time<br /> <br /> C.D.: concrete dates are named<br /> <br /> W.: bound to a specific time<br /> <br /> <br /> ''Space'':<br /> T &amp; T: not bound to space, as long as it takes place at court<br /> <br /> C.D.: not bound to space all the time<br /> <br /> W.: bound to space</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14499 2008-06-26T18:27:15Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni &amp; Handout outline */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814<br /> <br /> ''Mode of presentation''<br /> Tachmas: 1 book<br /> <br /> <br /> ''Time'':<br /> T &amp; T: Not bound to time<br /> C.D.: concrete dates are named<br /> W.: bound to a specific time<br /> <br /> ''Space'':<br /> T &amp; T: not bound to space, as long as it takes place at court<br /> C.D.: not bound to space all the time<br /> W.: bound to space</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14498 2008-06-26T18:19:34Z

<p>ClaudiaKühn: /* Ergebnisse vom 26. Juni */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni &amp; Handout outline ==<br /> <br /> The pieces were published in: Tachmas 1676, Tudor 1678, Dacres 1797, Waverley 1814</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14497 2008-06-26T18:17:21Z

<p>ClaudiaKühn: </p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter <br /> <br /> Waverley: general preface, several short prefaces, postscript, Scott mentions his life in the general preface<br /> <br /> --&gt; Prefaces have become more and more important and longer over the time. It seems like in Charles Dacres and Waverley the prefaces are written to pursuade the reader to buy and read the novel. This becomes very obvious in Waverley: Scott tells the reader about his childhood and his illnesses --&gt; maybe fishing for sympathy<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]<br /> <br /> == Ergebnisse vom 26. Juni ==</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14491 2008-06-26T11:04:32Z

<p>ClaudiaKühn: /* Ergebnisse 18.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> The pieces were published in:<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter<br /> Waverley:<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14489 2008-06-25T17:11:53Z

<p>ClaudiaKühn: /* Ergebnisse vom 19.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter<br /> Waverley:<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, possibility to put oneself into the characters--&gt; to fire the imagination of the audience<br /> <br /> Charles Dacres: latin, french words, telling names (roman a clef), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Charles Dacres: Features''<br /> <br /> <br /> use of language bound to characters (Frenchman speaks French in an English novel)<br /> <br /> buildup like a drama<br /> <br /> prospect --&gt; table of content<br /> <br /> life story<br /> <br /> ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14488 2008-06-25T17:05:18Z

<p>ClaudiaKühn: /* Ergebnisse vom 19.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter<br /> Waverley:<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, worldly wisdoms<br /> <br /> Charles Dacres: remittance work, social criticism, ideological view on history, moral??<br /> <br /> Waverley: promote national ideal, (money??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14487 2008-06-25T17:03:04Z

<p>ClaudiaKühn: /* Ergebnisse vom 19.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 books<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books become more complex<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: no<br /> <br /> Tachmas: epistle, dedication, preface<br /> <br /> Charles Dacres: preface, introduction of the characters, retrospect, prospect previous to each chapter<br /> Waverley:<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: narrowed, conservative group of scholars<br /> <br /> Waverley: scholars, the public, maybe especially English --&gt; patriotism<br /> <br /> Literary Forum/ community and market grows<br /> political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, moral?? Oder eher Lebensweisheiten<br /> <br /> Charles Dacres: Auftragsarbeit, Gesellschaftskritik, ideologische Sicht auf die Geschichte, moral??<br /> <br /> Waverley: Nationalbild fördern, (Geld??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14486 2008-06-25T16:58:55Z

<p>ClaudiaKühn: /* Ergebnisse vom 19.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Progress and changes of historical novels'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 book<br /> <br /> Tudor: 2 Bücher<br /> <br /> Charles Dacres: 6 books, 2 volumes<br /> <br /> Waverley: 1 book, 2 volumes, 72 chapter<br /> <br /> --&gt; books (content) become more complex<br /> <br /> ''Preface:''<br /> <br /> Tudor: keins<br /> <br /> Tachmas: Epistle, Dedication, preface<br /> <br /> Charles Dacres: Preface, Vorstellung der Characters, retrospect  Gesamtbetrachtung, Ausblick vor jedem Kapitel<br /> <br /> Waverley:<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: enger, konservativer Kreis von Gebildeten<br /> <br /> Waverley: scholars , the public, maybe especially English --&gt; patriotism<br /> <br /> Forum der Diskussion wird größer, political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''<br /> 2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, moral?? Oder eher Lebensweisheiten<br /> <br /> Charles Dacres: Auftragsarbeit, Gesellschaftskritik, ideologische Sicht auf die Geschichte, moral??<br /> <br /> Waverley: Nationalbild fördern, (Geld??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14477 2008-06-25T15:41:44Z

<p>ClaudiaKühn: /* Ergebnisse 18.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed, at that point of time the literary market hasn't yet fully developed <br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Entwicklung - neue Überlegungen'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 Buch<br /> <br /> Tudor: 2 Bücher<br /> <br /> Charles Dacres: 6 Bücher, 2 Volumes<br /> <br /> Waverley: 1 Buch, 2 Volumes, 72 Kapitel<br /> <br /> --&gt; Bücher werden umfangreicher, auch von den Geschichten her<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: keins<br /> <br /> Tachmas: Epistle, Dedication, preface<br /> <br /> Charles Dacres: Preface, Vorstellung der Characters, retrospect  Gesamtbetrachtung, Ausblick vor jedem Kapitel<br /> <br /> Waverley:<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: enger, konservativer Kreis von Gebildeten<br /> <br /> Waverley: scholars , the public, maybe especially English --&gt; patriotism<br /> <br /> Forum der Diskussion wird größer, political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''<br /> 2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, moral?? Oder eher Lebensweisheiten<br /> <br /> Charles Dacres: Auftragsarbeit, Gesellschaftskritik, ideologische Sicht auf die Geschichte, moral??<br /> <br /> Waverley: Nationalbild fördern, (Geld??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14465 2008-06-24T06:49:40Z

<p>ClaudiaKühn: /* Ergebnisse vom 19.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed<br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Entwicklung - neue Überlegungen'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 Buch<br /> <br /> Tudor: 2 Bücher<br /> <br /> Charles Dacres: 6 Bücher, 2 Volumes<br /> <br /> Waverley: 1 Buch, 2 Volumes, 72 Kapitel<br /> <br /> --&gt; Bücher werden umfangreicher, auch von den Geschichten her<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: keins<br /> <br /> Tachmas: Epistle, Dedication, preface<br /> <br /> Charles Dacres: Preface, Vorstellung der Characters, retrospect  Gesamtbetrachtung, Ausblick vor jedem Kapitel<br /> <br /> Waverley:<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: enger, konservativer Kreis von Gebildeten<br /> <br /> Waverley: scholars , the public, maybe especially English --&gt; patriotism<br /> <br /> Forum der Diskussion wird größer, political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''<br /> 2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, moral?? Oder eher Lebensweisheiten<br /> <br /> Charles Dacres: Auftragsarbeit, Gesellschaftskritik, ideologische Sicht auf die Geschichte, moral??<br /> <br /> Waverley: Nationalbild fördern, (Geld??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14464 2008-06-24T06:44:49Z

<p>ClaudiaKühn: /* Ergebnisse 18.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. Use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. Protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. Action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. The world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. Fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. Language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. Time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. Space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. Characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> &quot;Possible explanation&quot;<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed<br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Entwicklung - neue Überlegungen'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 Buch<br /> <br /> Tudor: 2 Bücher<br /> <br /> Charles Dacres: 6 Bücher, 2 Volumes<br /> <br /> Waverley: 1 Buch, 2 Volumes, 72 Kapitel<br /> <br /> --&gt; Bücher werden umfangreicher, auch von den Geschichten her<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: keins<br /> <br /> Tachmas: Epistle, Dedication, preface<br /> <br /> Charles Dacres: Preface, Vorstellung der Characters, retrospect  Gesamtbetrachtung, Ausblick vor jedem Kapitel<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: enger, konservativer Kreis von Gebildeten<br /> <br /> Waverley: scholars , aber auch anderes educated public, maybe especially English --&gt; patriotism<br /> <br /> Forum der Diskussion wird größer, political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''<br /> 2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, moral?? Oder eher Lebensweisheiten<br /> <br /> Charles Dacres: Auftragsarbeit, Gesellschaftskritik, ideologische Sicht auf die Geschichte, moral??<br /> <br /> Waverley: Nationalbild fördern, (Geld??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14463 2008-06-24T06:42:51Z

<p>ClaudiaKühn: /* Ergebnisse 18.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: some; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. the world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> ''Mögliche Erklärung''<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed<br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Entwicklung - neue Überlegungen'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 Buch<br /> <br /> Tudor: 2 Bücher<br /> <br /> Charles Dacres: 6 Bücher, 2 Volumes<br /> <br /> Waverley: 1 Buch, 2 Volumes, 72 Kapitel<br /> <br /> --&gt; Bücher werden umfangreicher, auch von den Geschichten her<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: keins<br /> <br /> Tachmas: Epistle, Dedication, preface<br /> <br /> Charles Dacres: Preface, Vorstellung der Characters, retrospect  Gesamtbetrachtung, Ausblick vor jedem Kapitel<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: enger, konservativer Kreis von Gebildeten<br /> <br /> Waverley: scholars , aber auch anderes educated public, maybe especially English --&gt; patriotism<br /> <br /> Forum der Diskussion wird größer, political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''<br /> 2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, moral?? Oder eher Lebensweisheiten<br /> <br /> Charles Dacres: Auftragsarbeit, Gesellschaftskritik, ideologische Sicht auf die Geschichte, moral??<br /> <br /> Waverley: Nationalbild fördern, (Geld??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Problems_of_Genre&diff=14462 2008-06-24T06:42:00Z

<p>ClaudiaKühn: /* Ergebnisse 18.06.08 */</p> <hr /> <div>This page is for the expert group &quot;Problems with Genre&quot;. I would suggest that everyone posts what he /she has already found out so that everyone has access to the same information! [[User:Katrin Menzel|Katrin Menzel]] 20:14, 15 June 2008 (CEST)<br /> <br /> <br /> == Leitfragen für die Diskussion ==<br /> <br /> 1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?<br /> <br /> 2. Gibt es eine Entwicklung, die festzustellen ist?<br /> Falls ja, gibt es dafür Erklärungen?<br /> <br /> Der Vergleich der Texte ist das interessante, da es sich bei allen um historical novels handelt. Zumindest laut Titel.<br /> <br /> <br /> <br /> == Ergebnisse 18.06.08 ==<br /> <br /> '''1. Wie lassen sich die Texte, die wir gelesen haben zeitlich und strukturell unterteilen?'''<br /> <br /> Wann sind die Texte erschienen?<br /> <br /> <br /> • Tachmas: 1676<br /> <br /> • Tudor: 1678<br /> <br /> • Dacres: 1797<br /> <br /> • Waverley: 1814<br /> <br /> <br /> <br /> Wo sind strukturelle Unterschiede?<br /> <br /> <br /> Tudor &amp; Tachmas: Printed material for the upper class (those who could read),not for the learned world  belles letters?<br /> <br /> Charles Dacres: Something between belles letters and literature?<br /> <br /> Waverley: Historical novel (in Borgmeier's sense)<br /> <br /> <br /> ''1. Authentic historical character'': Tudor and Tachmas: so; Charles Dacres: yes, Bonnie Prince Charly; Waverley: yes''<br /> <br /> ''2. Real historical events are combined with fictional people and characters'': Tudor and Tachmas: little; Charles Dacres: yes; Waverley: yes<br /> <br /> ''3. use of historical details'': Tudor and Tachmas: no; Charles Dacres: no; Waverley: yes<br /> <br /> ''4. protagonist is a mediocre hero'': Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> ''5. action takes place in the near past'': Tudor and Tachmas: no; Charles Dacres: yes<br /> <br /> ''6. the world is shown through the perspective of an individual and his individual thoughts/ experiences and feelings, sentiments and manners of the characters'': Tudor and Tachmas: no; Charles Dacres: no<br /> <br /> ''7. fictional actions show consequences/ effects of history'': Tudor and Tachmas: little<br /> <br /> ''8. language and style of writing --&gt; show contrasts'': Tudor and Tachmas: Delightful and expressive language; Charles Dacres: Something in between delightful and neutral language; Waverley: More neutral language<br /> <br /> ''Biographical story'' : Tudor and Tachmas: no; Charles Dacres: yes; Waverley: yes<br /> <br /> <br /> <br /> <br /> '''2. Gibt es eine Entwicklung? Falls ja, gibt es dafür eine Erklärung?'''<br /> <br /> ''1. time:''<br /> <br /> Tudor and Tachmas: not bound to time<br /> <br /> Charles Dacres: concrete dates ( French Revolution)<br /> <br /> Waverley: bound to time<br /> <br /> ''2. space:''<br /> <br /> Tudor and Tachmas: not bound to space, as long as it takes place at court<br /> <br /> Charles Dacres: not bound to space all the time?<br /> <br /> Waverley: bound to space<br /> <br /> <br /> ''3. characters:''<br /> <br /> Tudor and Tachmas: royal persons, not complex characters, reader does not know anything about the past or the development of the characters<br /> <br /> Charles Dacres: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> Waverley: &quot;normal&quot; mediocre people, more complex characters, reader knows about the past and development of the characters<br /> <br /> More general: the development of the genre might be called the development from romance to the historical &quot;Bildungsroman&quot;....(Needs to be discussed)<br /> <br /> <br /> ''Mögliche Erklärung''<br /> <br /> Tudor and Tachmas: can be described as popular fiction, was not intended to be discussed<br /> <br /> <br /> Tudor and Tachmas: no author is named, just the publisher<br /> <br /> Charles Dacres: author is afraid of telling his real name because of the critics (talks about his political opinion)- (is aware that his work will be discussed)<br /> <br /> Waverley: Scott wanted to stay anonymous at first; in the last chapter (political opinion??)<br /> <br /> == Ergebnisse vom 19.06.08 ==<br /> <br /> '''Entwicklung - neue Überlegungen'''<br /> <br /> ''Mode of presentation:''<br /> <br /> Tachmas: 1 Buch<br /> <br /> Tudor: 2 Bücher<br /> <br /> Charles Dacres: 6 Bücher, 2 Volumes<br /> <br /> Waverley: 1 Buch, 2 Volumes, 72 Kapitel<br /> <br /> --&gt; Bücher werden umfangreicher, auch von den Geschichten her<br /> <br /> <br /> ''Preface:''<br /> <br /> Tudor: keins<br /> <br /> Tachmas: Epistle, Dedication, preface<br /> <br /> Charles Dacres: Preface, Vorstellung der Characters, retrospect  Gesamtbetrachtung, Ausblick vor jedem Kapitel<br /> <br /> <br /> ''1. For whom were these pieces written?''<br /> <br /> Tudor: educated reader but not academics or scholars<br /> <br /> Tachmas: educated reader but not academics or scholars<br /> <br /> Charles Dacres: enger, konservativer Kreis von Gebildeten<br /> <br /> Waverley: scholars , aber auch anderes educated public, maybe especially English --&gt; patriotism<br /> <br /> Forum der Diskussion wird größer, political intention; Scott states that he wants to create a novel for Scottland as Maria Edgeworth has created for Ireland (--&gt; she is his &quot;role model&quot;)<br /> <br /> <br /> ''<br /> 2. What were the intentions for writing that piece at that point of time?''<br /> <br /> Tudor and Tachmas: entertainment, moral?? Oder eher Lebensweisheiten<br /> <br /> Charles Dacres: Auftragsarbeit, Gesellschaftskritik, ideologische Sicht auf die Geschichte, moral??<br /> <br /> Waverley: Nationalbild fördern, (Geld??), presentation of history<br /> <br /> <br /> ''3. What strategies were used to make it look good?''<br /> <br /> Tudor and Tachmas: romance, language, Möglichkeit sich in die Geschichte hineinzuversetzen --&gt; Phantasie<br /> <br /> Charles Dacres: latin, french words, telling names (schlüssel roman), trying to be funny by using „funny“ expressions, side stories<br /> <br /> Waverley: Patriotism, authenticity  description of space, mediocre hero  identification<br /> <br /> <br /> <br /> ''Features zu Charles Dacres''<br /> <br /> <br /> Sprachgebrauch wird an Personen angepasst ( der Franzose spricht Französisch)<br /> <br /> Aufbau wie bei einem Drama<br /> <br /> Vorgaben vor jedem Kapitel --&gt; Inhaltsverzeichnis<br /> <br /> Lebensgeschichte<br /> <br /> Ideological view on history<br /> <br /> substories<br /> <br /> <br /> ----<br /> <br /> == Borgmeiers Gattungsmodell: Gattungsmerkmale für Waverley ==<br /> <br /> 1. different kind of characters, at least one authentic historical character<br /> <br /> 2. real historical events are combined with fictional people and characters<br /> <br /> 3. historical elements are not only background but center of the story, use of historical details<br /> <br /> 4. protagonist is a mediocre hero<br /> <br /> 5. action takes place in the near past<br /> <br /> 6. the world is shown through the perspective of an individual and his individual thoughts/ experiences<br /> <br /> 7. fictional actions show consequences/ effects of history<br /> <br /> 8. language and style of writing --&gt; show contrasts<br /> <br /> 9. feelings, sentiments and manners of the characters--&gt; foundation of the historical novel (the reader can not only see historical realtionships. He also can emotionally feel complex living-conditions of the past)<br /> <br /> <br /> '''These are the features that I wrote down in class. I'm not sure if they are all right so please have a look at them and add or change any features, especially numbers 8 and 9.'''<br /> <br /> == Typical features of Historical Novels of the late 17th and early 18th century ==<br /> <br /> 1. Two protagonists --&gt; man and woman, relation is based on romance<br /> --&gt;Struggle for love (Tudor p.126; Tachmas p. 42)<br /> '''We definitely have to talk about this feature again. We already found last week that there is more than 1 couple in the stories'''<br /> <br /> 2. Very expressive, delightful use of language (Tudor p.20; Tachmas p.6)<br /> <br /> 3. Texts do not intend to present space or society, focus on romance and <br /> actions at court --&gt; homogeneous social class (Tudor p.19; Tachmas p. 5)<br /> <br /> 4. Not tightly bound to space and time <br /> <br /> 5. Historical references are minor points or are even invented (Tudor p.28; <br /> Tachmas p. 104)<br /> <br /> 6. Emphasis on emotions (Tudor p. 152; Tachmas p. 54) <br /> o Emotions vs. Rationality (Tudor p.124; Tachmas p.39)<br /> <br /> 7. Contains intrigues and treacheries (Tudor p.149 ; Tachmas p.78) <br /> <br /> 8. Overlapping actions --&gt; „in the meantime“ (Tudor p.147,p.138,p.137; <br /> Tachmas p.30,p.50,p.65)<br /> <br /> 9. Imply moral values to the audience (Tudor p. 10; Tachmas p.91)<br /> <br /> 10. Tragic ending (Tudor p. 154; Tachmas p. 109)<br /> <br /> <br /> == Observations on prefaces ==<br /> <br /> Used prefaces: Charles Dacres, Mary Stewart, The Unequal Match<br /> <br /> 1. All observed prefaces seem to be justifications. The author tries to justify their way of writing. All authors claim that they based their novel on the real historical background. A justification could be a sign for a late preface (Genette). That means that the first edition might not have had a preface but a preface might have been added to later editions.<br /> <br /> 2. Mary Stewart has two prefaces, one written by the author and one written by the translator. The translator says that he has to polish the character of Mary Stewart. --&gt; '''Still need to be discussed'''<br /> <br /> 3. The preface of &quot;The Unequal Match&quot; reminds of a letter of admiration. <br /> <br /> - All of the authors stay anonymous in our observed novels. <br /> <br /> '''These are just our observations. We need to discuss them at our group meeting.'''<br /> <br /> == Charles Dacres ==<br /> <br /> [[Research on Charles Dacres]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=2008_AM_Historical_Novels&diff=14105 2008-06-08T15:21:26Z

<p>ClaudiaKühn: /* 10.06.2008 */</p> <hr /> <div>* '''Time and Location:''' Tuesdays 10-12 am, A01 0-004<br /> * '''Language tutor office hours:''' Tuesdays 5-6 pm, A6 2-211<br /> * '''Tutorial:''' Tuesdays 6-8 pm, A6 0-009<br /> <br /> __NOTOC__<br /> ==Course Description==<br /> The historical novel is one of the classical subgenres of the modern novel. This course will introduce students to the beginnings and the early history of the genre. In the first half of the semester, we will read Walter Scott's Waverley (1814) and become familiar with the main characteristics of a genre which invites its readers to reflect on the relation in which their romantic past stands towards their current modernity. In the second half of term, we will encounter a set of shorter eighteenth-century texts which were also called 'historical novels', although they were not at all concerned with 'history' in the modern sense. We will analyse a selection of these texts, attempt to identify their generic features and examine their differences to the modern form. In doing so, we will also seek to understand the developments that led from one type of historical novel to the next. <br /> By the beginning of term, students should have purchased and read Walter Scott, ''Waverley; or, 'Tis Sixty Years Since'', ed. Claire Lamont, Oxford World's Classics, Oxford University Press, 1998. <br /> As introductory reading please consult the essays by Borgmeier and Trevor-Roper (cf. below, reading materials) <br /> <br /> '''Course Requirements for credits as a Aufbaumodul:'''<br /> #Regular attendance and active participation (you may miss up to two meetings, whatever the reasons). <br /> #An oral presentation of ca. 20 minutes that will form the basis for your subsequent term paper (you present information and develop an argument that must allow you to formulate research questions concerning a particular text and topic, which will then be discussed by the seminar). <br /> #Joining one of three 'expert groups'.<br /> #A term paper (generally dealing with one or several of the issues raised in your oral contribution; length ca. 10 pages; deadline September 1, 2008).<br /> <br /> NOTE: <br /> *Fulfilling all four requirements successfully will earn you a total of six credit points towards your module (6 KP)<br /> *Fulfilling only the first three requirements will earn you a total of three credit points towards your module (3 KP). [For students who plan to take 3 KP it is especially important to be active in an 'expert group'.]<br /> <br /> ==08.04.2008==<br /> Introduction. Technicalities. &lt;br&gt;<br /> Distribution of Presentations. Constitution of Expert Groups.<br /> <br /> ==15.04.2008==<br /> Skills and Goals in presentation and discussion. &lt;br&gt;<br /> (Distribution of Presentations. Constitution of Expert Groups [Group 1: The Writing of History, Group 2: Problems of Genre, Group 3: Textual Analysis].)<br /> <br /> ==22.04.2008==<br /> Problems and what to do with them: achieving a research-oriented perspective (1) : History and Theory <br /> *Read and discuss: [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_trevor-roper_the_invention_of_tradition.pdf Trevor-Roper, Hugh. &quot;The Invention of Tradition: The Highland Tradition of Scotland.&quot; ''The Invention of Tradition'' ed. Eric Hobsbawm, Terence Ranger, Cambridge: Cambridge UP, 1st. ed. 1983, repr. 2003. 15-42.]<br /> <br /> Guiding questions:<br /> #What is the actual history of the Scottish Highland population and of their dress and customs? What is their actual significance in Scottish history?<br /> #How did the kilt and the tartan come to be associated with traditional Scotland?<br /> #What questions follow from the information presented by Trevor-Roper? <br /> #What consequences could this have for our thinking about history, and about the historical novel?<br /> <br /> ==29.04.2008==<br /> Problems and what to do with them: achieving a research-oriented perspective (2): Genre perspectives <br /> *Read and discuss: [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1984_Borgmeier_Das_Gattungsmodell.pdf Borgmeier, Raimund. &quot;Das Gattungsmodell: Sir Walter Scott, Waverley (1814)&quot;. Borgmeier, Raimund / Reitz, Bernhard (ed). ''Der historische Roman. 19. Jahrhundert.'' Heidelberg: Winter (1984).]<br /> <br /> Guiding quesitons:<br /> #What are the specific genre-attributes of a historical novel, according to Borgmeier? <br /> #What does Borgmeier say about Scott's models, and about the tradition of the historical novel? <br /> #What are the characteristic ways of referring to real historical events and real historical persons, according to Borgmeier?<br /> #At what points does Borgmeier simply present information, and at what points does he engage in a critical debate about the interpretation of the text?<br /> #Can you see any problems that Borgmeier's essay might raise for the context of our seminar?<br /> <br /> ==06.05.2008==<br /> &quot;Sixty Years Since&quot; - Past and Present in ''Waverley'' (historical background, plot structure and historical characters and events in ''Waverley'')<br /> <br /> Presentation: Vivien Baldwin, Marion Canisius, Andreas Sprenkel<br /> <br /> ==13.05.2008==<br /> Waverley and his Women: The role of the hero, the role of the female protagonists, and the romantic plot.<br /> <br /> Presentation: Katharina Bohn, Kathrin Gerdes, Sara-Lena Braasch<br /> <br /> ==20.05.2008==<br /> Scotland vs. England in Waverley: The Representation of Space and the Ideology of the Text<br /> <br /> Presentation: Alex Lanzel and Hanna Suhling<br /> <br /> Please read the following passages and think about the questions for each one:<br /> <br /> 1) p. 32-33 &quot;It was about noon...&quot; to &quot;...and acquired information of a hardy, intelligent, and reflecting peasantry.&quot;<br /> - How are the Lowlands/Scotland represented in this passage? What does Scott think about Scotland?<br /> <br /> 2) p. 96-97 &quot;The apparatus for dinner...&quot; to &quot;...so many bold and attached followers.&quot;<br /> - What is shown about clan mentality? What is their importance/how do they work?<br /> <br /> 3) p. 246-247 &quot;Colonol Talbot became more kindly...&quot; to &quot;...the name of Miss Mac-Jupiter.&quot;<br /> - What does Colonol Talbot think about Scotland?<br /> <br /> ==27.05.2008==<br /> Discussing the historical novel: Preface and &quot;postscript&quot; to ''Waverley'', and Prefaces to earlier Historical Novels.<br /> <br /> Presentation: Claudia Kulina, Frederike Holzmann<br /> <br /> Please read <br /> Waverley: Chapters I and XXV (last chapter: &quot;A postscript that should have been a preface&quot;)<br /> and the general preface (pp.349-361)<br /> <br /> Please scan read the prefaces of:<br /> Mary Stewart: pp. 1-38<br /> Unequal match: pp.1 and 2<br /> Charles Dacres: pp.4-13<br /> <br /> ==03.06.2008==<br /> [Historical Novels of the late 17th and early 18th century I - selection from texts below]<br /> <br /> Presentation: 'Tacmas - Prince of Persia' (1676) Sebastian Brinkmann<br /> <br /> Presentation: 'Tudor Prince of Wales' (1678) Boy R. Petersen<br /> <br /> ==10.06.2008==<br /> [Historical Novels of the late 17th and early 18th century II - selection from texts below]<br /> <br /> Presentation: Claudia Kühn, Katrin Menzel<br /> <br /> <br /> <br /> Please have a closer look at &quot;Tachmas&quot; from the beginning to page 14 and &quot;Tudor&quot; from page 7 to page 16. <br /> <br /> Think about:<br /> <br /> 1. for whom were these pieces written?<br /> <br /> 2. the intentions/roles of the pieces at that point of time?<br /> <br /> 3. what strategies do they use to make the pieces look good (interesting, exciting,...)?<br /> <br /> Make an educated guess.<br /> <br /> ==17.06.2008==<br /> [Historical Novels of the later 18th century I - selection from texts below]<br /> <br /> Presentation: Hanno Jansen, Julian Richter<br /> <br /> ==24.06.2008==<br /> [Historical Novels of the later 18th century II - selection from texts below]<br /> <br /> Presentation: Daniel Buse,Ying Huang<br /> <br /> ==01.07.2008==<br /> Course Evaluation. - Brief report of expert groups on their observations: Writing of History, Problems of Genre, Textual Analysis.<br /> <br /> ==08.07.2008==<br /> Feedback on Course Evaluation. - Final discussion. <br /> <br /> <br /> ==Reading Materials==<br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_trevor-roper_the_invention_of_tradition.pdf Trevor-Roper, Hugh. &quot;The Invention of Tradition: The Highland Tradition of Scotland.&quot; ''The Invention of Tradition'' ed. Eric Hobsbawm, Terence Ranger, Cambridge: Cambridge UP, 1st. ed. 1983, repr. 2003. 15-42.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1984_Borgmeier_Das_Gattungsmodell.pdf Borgmeier, Raimund. &quot;Das Gattungsmodell: Sir Walter Scott, Waverley (1814)&quot;. Borgmeier, Raimund / Reitz, Bernhard (ed). ''Der historische Roman. 19. Jahrhundert.'' Heidelberg: Winter (1984).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1855_greenwood_the_home_of_the_author_of_waverly.pdf Greenwood, Grace. “The home of the author of ‘Waverly’.” Reynold's miscellany of romance, general literature, science, and art 13:341 (1855:Jan.): 405.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1987_haegg_the_beginnings_of_the_hist_novel.pdf Hägg, Tomas. “&quot;Callirhoe&quot; and &quot;Parthenope&quot;: The Beginnings of the Historical Novel.” Classical Antiquity 6:2 (1987 Oct.): 184.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1973_haggis_scott_balzac_and_the_historical_novel_as_social_and_political_analysis.pdf Haggis, D. R. “Scott, Balzac, and the Historical Novel as Social and Political Analysis: 'Waverley' and 'Les Chouans'.” Modern Language Review 68:1 (1973:Jan.): 51.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1970_hayden-scott_critical_heritage.pdf Hayden, John O., ed. ''Scott. The Critical Heritage''. London: Routledge and Kegan Paul, 1970, 67-84 (section on Waverley).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1987_dekker-waverley_model.pdf Dekker, George. “The Waverley-Model and the Rise of the Historical Romance.” ''The American Historical Romance''. New York, Cambridge: Cambridge University Press, 1987, 29–72.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1989_bann-sense_of_the_past.pdf Bann, Stephen. &quot;The Sense of the Past: Image, Text, and Object in the Formation of Historical Consciousness in Nineteenth-Century Britain.&quot; ''The New Historicism''. Ed. Aram Veeser. New York: Routledge, 1989, 102-115. ]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1991_garside-popular_fiction.pdf Garside, Peter. “Popular Fiction and National Tale: Hidden Origins of Scott's Waverley.” ''Nineteenth-Century Literature'' 46 (1991): 30-53.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2007_scheiding-james_fenimore_cooper.pdf Scheiding, Oliver. &quot;James Fenimore Cooper und Sir Walter Scott: Entwürfe nationaler Leitfiguren im Spiegel der amerikanischen Literaturkritik des 19. Jahrhnderts.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1965_lukacs_werke_der_hist_roman.pdf Lukács, Georg. Der historische Roman. ''Werke''. vol. 6. Neuwied: Luchterhand, 1962. (section on Walter Scott).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1982_mazurek_metafiction_historical_novel_and_coover's_public_burning.pdf Mazurek, Raymond A. “Metafiction, the Historical Novel, and Coover's The Public Burning.” ''Critique'' 23:3 (1982): 29.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_walsh_the_sublime_in_the_historical_novel.pdf Walsh, Catherine Henry. “The Sublime in the Historical Novel: Scott and Gil y Carrasco.” ''Comparative Literature'' 42 (1990): 29.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1894_saintbury_the_hist_novel_part_II_scott-dumas.pdf Saintsbury, George. “The Historical Novel: Part II.-Scott and Dumas.” ''Macmillan's Magazine'' 70 (1894 May/Oct.): 321.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1894_saintsbury_the_hist_novel_Part_III_the_successors.pdf Saintsbury, George. &quot;The Historical Novel: Part III.-The Successors.&quot; ''Macmillan's Magazine'' 70 (1894 May/Oct.): 410.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1859_of_novels_historical_and_didactic_bentley's_miscellanny.pdf “Of Novels, Historical and Didactic: The Historical Novel.” ''Bentley's Miscellany'' 46 (1859): 42.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1976_swann_past_into_present_scott_galt_and_the_historical_novel.pdf Swann, Charles. “Past into present: Scott, Galt and the Historical Novel.” ''Literature and History'' 3 (1976 March): 65.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1929_roorbach_the_hist_nov_as_an_aid_in_the_teaching_of_soc_stud.pdf Roorbach, A. O. “The Historical Novel as an Aid in the Teaching of the Social Studies.” ''Historical Outlook'' 20:8 (1929 Dec.): 396.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1764_Walpole_The_Castle_of_Otranto_from_Proj._Gutenberg.pdf Walpole, Horace. ''The Castle of Otranto'', 1764 from Project Gutenberg.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_1.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.1. Edinburgh: John Murray, 1808.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_2.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.2. Edinburgh: John Murray, 1808.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_3.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.3. Edinburgh: John Murray, 1808.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_4.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.4. Edinburgh: John Murray, 1808.]<br /> <br /> Some 'Historical Novels':<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1676_tachmas_prince_of_persia.pdf ''Tachmas Prince of Persia'' (1676).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1678_tudor_prince_of_wales.pdf ''Tudor Prince of Wales'' (1678).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1680_unequal_match.pdf ''The Unequal Match'' (1680).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1690_belon_revivd_fugitive.pdf ''The Reviv'd Fugitive'' (1690).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1692_Spence_Ferrand-Don_Sebastian_King_of_Portugal.pdf ''Don Sebastian King of Portugal'' (1692).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1725_Hist-Novel_ladys-philosophers-stone.pdf ''The Lady's Philosopher's Stone'' (1725).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1729_Mary_Stewart.pdf ''The Life of Mary Stewart'' (1729).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1729_hist-novel_don-carlos.pdf ''Don Carlos'' (1720).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1740_Hist-Novel_Siege_of_Calais.pdf ''The Siege of Calais'' (1740).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1757_oppressed-captive-hist-novel.pdf ''The Oppressed Captive'' (1757).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1779_count-de-rethel-hist-nov_v1.pdf ''The Count de Rethel'', vol. 1 (1779).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1779_count-de-rethel-hist-nov_v2.pdf ''The Count de Rethel'', vol. 2 (1779).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1779_count-de-rethel-hist-nov_v3.pdf ''The Count de Rethel'', vol. 3 (1779).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist-nov_v1.pdf ''The Siege of Belgrade'', vol. 1 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist_nov_v2.pdf ''The Siege of Belgrade'', vol. 2 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist-nov_v3.pdf ''The Siege of Belgrade'', vol. 3 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist-nov_v4.pdf ''The Siege of Belgrade'', vol. 4 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_Netley_Abbey_v1.pdf ''Netley Abbey'', vol.1 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_Netley_Abbey_v2.pdf ''Netley Abbey'', vol.2 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v1.pdf ''The Duke of Clarence'', vol. 1 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v2.pdf ''The Duke of Clarence'', vol. 2 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v3.pdf ''The Duke of Clarence'', vol. 3 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v4.pdf ''The Duke of Clarence'', vol. 4 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1797_charles-dacres-hist-nov_v1.pdf ''Charles Dacres'', vol. 1 (1797).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1797_charles-dacres-hist-nov_v2.pdf ''Charles Dacres'', vol. 2 (1797).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1798_jaquelina-of-hainault-hist-nov_v1.pdf ''Jaquelina of Hainault'', vol. 1 (1798).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1798_jaquelina-of-hainault-hist-nov_v2.pdf ''Jaquelina of Hainault'', vol. 2 (1798).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1798_jaquelina-of-hainault-hist-nov_v3.pdf ''Jaquelina of Hainault'', vol. 3 (1798).]<br /> <br /> <br /> [[Category:Summer 2008]]<br /> [[Category:Aufbaumodul]]</div>

ClaudiaKühn https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=2008_AM_Historical_Novels&diff=14104 2008-06-08T15:19:50Z

<p>ClaudiaKühn: /* 10.06.2008 */</p> <hr /> <div>* '''Time and Location:''' Tuesdays 10-12 am, A01 0-004<br /> * '''Language tutor office hours:''' Tuesdays 5-6 pm, A6 2-211<br /> * '''Tutorial:''' Tuesdays 6-8 pm, A6 0-009<br /> <br /> __NOTOC__<br /> ==Course Description==<br /> The historical novel is one of the classical subgenres of the modern novel. This course will introduce students to the beginnings and the early history of the genre. In the first half of the semester, we will read Walter Scott's Waverley (1814) and become familiar with the main characteristics of a genre which invites its readers to reflect on the relation in which their romantic past stands towards their current modernity. In the second half of term, we will encounter a set of shorter eighteenth-century texts which were also called 'historical novels', although they were not at all concerned with 'history' in the modern sense. We will analyse a selection of these texts, attempt to identify their generic features and examine their differences to the modern form. In doing so, we will also seek to understand the developments that led from one type of historical novel to the next. <br /> By the beginning of term, students should have purchased and read Walter Scott, ''Waverley; or, 'Tis Sixty Years Since'', ed. Claire Lamont, Oxford World's Classics, Oxford University Press, 1998. <br /> As introductory reading please consult the essays by Borgmeier and Trevor-Roper (cf. below, reading materials) <br /> <br /> '''Course Requirements for credits as a Aufbaumodul:'''<br /> #Regular attendance and active participation (you may miss up to two meetings, whatever the reasons). <br /> #An oral presentation of ca. 20 minutes that will form the basis for your subsequent term paper (you present information and develop an argument that must allow you to formulate research questions concerning a particular text and topic, which will then be discussed by the seminar). <br /> #Joining one of three 'expert groups'.<br /> #A term paper (generally dealing with one or several of the issues raised in your oral contribution; length ca. 10 pages; deadline September 1, 2008).<br /> <br /> NOTE: <br /> *Fulfilling all four requirements successfully will earn you a total of six credit points towards your module (6 KP)<br /> *Fulfilling only the first three requirements will earn you a total of three credit points towards your module (3 KP). [For students who plan to take 3 KP it is especially important to be active in an 'expert group'.]<br /> <br /> ==08.04.2008==<br /> Introduction. Technicalities. &lt;br&gt;<br /> Distribution of Presentations. Constitution of Expert Groups.<br /> <br /> ==15.04.2008==<br /> Skills and Goals in presentation and discussion. &lt;br&gt;<br /> (Distribution of Presentations. Constitution of Expert Groups [Group 1: The Writing of History, Group 2: Problems of Genre, Group 3: Textual Analysis].)<br /> <br /> ==22.04.2008==<br /> Problems and what to do with them: achieving a research-oriented perspective (1) : History and Theory <br /> *Read and discuss: [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_trevor-roper_the_invention_of_tradition.pdf Trevor-Roper, Hugh. &quot;The Invention of Tradition: The Highland Tradition of Scotland.&quot; ''The Invention of Tradition'' ed. Eric Hobsbawm, Terence Ranger, Cambridge: Cambridge UP, 1st. ed. 1983, repr. 2003. 15-42.]<br /> <br /> Guiding questions:<br /> #What is the actual history of the Scottish Highland population and of their dress and customs? What is their actual significance in Scottish history?<br /> #How did the kilt and the tartan come to be associated with traditional Scotland?<br /> #What questions follow from the information presented by Trevor-Roper? <br /> #What consequences could this have for our thinking about history, and about the historical novel?<br /> <br /> ==29.04.2008==<br /> Problems and what to do with them: achieving a research-oriented perspective (2): Genre perspectives <br /> *Read and discuss: [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1984_Borgmeier_Das_Gattungsmodell.pdf Borgmeier, Raimund. &quot;Das Gattungsmodell: Sir Walter Scott, Waverley (1814)&quot;. Borgmeier, Raimund / Reitz, Bernhard (ed). ''Der historische Roman. 19. Jahrhundert.'' Heidelberg: Winter (1984).]<br /> <br /> Guiding quesitons:<br /> #What are the specific genre-attributes of a historical novel, according to Borgmeier? <br /> #What does Borgmeier say about Scott's models, and about the tradition of the historical novel? <br /> #What are the characteristic ways of referring to real historical events and real historical persons, according to Borgmeier?<br /> #At what points does Borgmeier simply present information, and at what points does he engage in a critical debate about the interpretation of the text?<br /> #Can you see any problems that Borgmeier's essay might raise for the context of our seminar?<br /> <br /> ==06.05.2008==<br /> &quot;Sixty Years Since&quot; - Past and Present in ''Waverley'' (historical background, plot structure and historical characters and events in ''Waverley'')<br /> <br /> Presentation: Vivien Baldwin, Marion Canisius, Andreas Sprenkel<br /> <br /> ==13.05.2008==<br /> Waverley and his Women: The role of the hero, the role of the female protagonists, and the romantic plot.<br /> <br /> Presentation: Katharina Bohn, Kathrin Gerdes, Sara-Lena Braasch<br /> <br /> ==20.05.2008==<br /> Scotland vs. England in Waverley: The Representation of Space and the Ideology of the Text<br /> <br /> Presentation: Alex Lanzel and Hanna Suhling<br /> <br /> Please read the following passages and think about the questions for each one:<br /> <br /> 1) p. 32-33 &quot;It was about noon...&quot; to &quot;...and acquired information of a hardy, intelligent, and reflecting peasantry.&quot;<br /> - How are the Lowlands/Scotland represented in this passage? What does Scott think about Scotland?<br /> <br /> 2) p. 96-97 &quot;The apparatus for dinner...&quot; to &quot;...so many bold and attached followers.&quot;<br /> - What is shown about clan mentality? What is their importance/how do they work?<br /> <br /> 3) p. 246-247 &quot;Colonol Talbot became more kindly...&quot; to &quot;...the name of Miss Mac-Jupiter.&quot;<br /> - What does Colonol Talbot think about Scotland?<br /> <br /> ==27.05.2008==<br /> Discussing the historical novel: Preface and &quot;postscript&quot; to ''Waverley'', and Prefaces to earlier Historical Novels.<br /> <br /> Presentation: Claudia Kulina, Frederike Holzmann<br /> <br /> Please read <br /> Waverley: Chapters I and XXV (last chapter: &quot;A postscript that should have been a preface&quot;)<br /> and the general preface (pp.349-361)<br /> <br /> Please scan read the prefaces of:<br /> Mary Stewart: pp. 1-38<br /> Unequal match: pp.1 and 2<br /> Charles Dacres: pp.4-13<br /> <br /> ==03.06.2008==<br /> [Historical Novels of the late 17th and early 18th century I - selection from texts below]<br /> <br /> Presentation: 'Tacmas - Prince of Persia' (1676) Sebastian Brinkmann<br /> <br /> Presentation: 'Tudor Prince of Wales' (1678) Boy R. Petersen<br /> <br /> ==10.06.2008==<br /> [Historical Novels of the late 17th and early 18th century II - selection from texts below]<br /> <br /> Presentation: Claudia Kühn, Katrin Menzel<br /> <br /> Please have a closer look at &quot;Tachmas&quot; from the beginning to page 14 and &quot;Tudor&quot; from page 7 to page 16. <br /> <br /> Think about:<br /> 1. for whom were these pieces written?<br /> 2. the intentions/roles of the pieces at that point of time?<br /> 3. what strategies do they use to make the pieces look good (interesting, exciting,...)?<br /> Make an educated guess.<br /> <br /> ==17.06.2008==<br /> [Historical Novels of the later 18th century I - selection from texts below]<br /> <br /> Presentation: Hanno Jansen, Julian Richter<br /> <br /> ==24.06.2008==<br /> [Historical Novels of the later 18th century II - selection from texts below]<br /> <br /> Presentation: Daniel Buse,Ying Huang<br /> <br /> ==01.07.2008==<br /> Course Evaluation. - Brief report of expert groups on their observations: Writing of History, Problems of Genre, Textual Analysis.<br /> <br /> ==08.07.2008==<br /> Feedback on Course Evaluation. - Final discussion. <br /> <br /> <br /> ==Reading Materials==<br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1983_trevor-roper_the_invention_of_tradition.pdf Trevor-Roper, Hugh. &quot;The Invention of Tradition: The Highland Tradition of Scotland.&quot; ''The Invention of Tradition'' ed. Eric Hobsbawm, Terence Ranger, Cambridge: Cambridge UP, 1st. ed. 1983, repr. 2003. 15-42.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1984_Borgmeier_Das_Gattungsmodell.pdf Borgmeier, Raimund. &quot;Das Gattungsmodell: Sir Walter Scott, Waverley (1814)&quot;. Borgmeier, Raimund / Reitz, Bernhard (ed). ''Der historische Roman. 19. Jahrhundert.'' Heidelberg: Winter (1984).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1855_greenwood_the_home_of_the_author_of_waverly.pdf Greenwood, Grace. “The home of the author of ‘Waverly’.” Reynold's miscellany of romance, general literature, science, and art 13:341 (1855:Jan.): 405.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1987_haegg_the_beginnings_of_the_hist_novel.pdf Hägg, Tomas. “&quot;Callirhoe&quot; and &quot;Parthenope&quot;: The Beginnings of the Historical Novel.” Classical Antiquity 6:2 (1987 Oct.): 184.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1973_haggis_scott_balzac_and_the_historical_novel_as_social_and_political_analysis.pdf Haggis, D. R. “Scott, Balzac, and the Historical Novel as Social and Political Analysis: 'Waverley' and 'Les Chouans'.” Modern Language Review 68:1 (1973:Jan.): 51.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1970_hayden-scott_critical_heritage.pdf Hayden, John O., ed. ''Scott. The Critical Heritage''. London: Routledge and Kegan Paul, 1970, 67-84 (section on Waverley).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1987_dekker-waverley_model.pdf Dekker, George. “The Waverley-Model and the Rise of the Historical Romance.” ''The American Historical Romance''. New York, Cambridge: Cambridge University Press, 1987, 29–72.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1989_bann-sense_of_the_past.pdf Bann, Stephen. &quot;The Sense of the Past: Image, Text, and Object in the Formation of Historical Consciousness in Nineteenth-Century Britain.&quot; ''The New Historicism''. Ed. Aram Veeser. New York: Routledge, 1989, 102-115. ]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1991_garside-popular_fiction.pdf Garside, Peter. “Popular Fiction and National Tale: Hidden Origins of Scott's Waverley.” ''Nineteenth-Century Literature'' 46 (1991): 30-53.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/2007_scheiding-james_fenimore_cooper.pdf Scheiding, Oliver. &quot;James Fenimore Cooper und Sir Walter Scott: Entwürfe nationaler Leitfiguren im Spiegel der amerikanischen Literaturkritik des 19. Jahrhnderts.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1965_lukacs_werke_der_hist_roman.pdf Lukács, Georg. Der historische Roman. ''Werke''. vol. 6. Neuwied: Luchterhand, 1962. (section on Walter Scott).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1982_mazurek_metafiction_historical_novel_and_coover's_public_burning.pdf Mazurek, Raymond A. “Metafiction, the Historical Novel, and Coover's The Public Burning.” ''Critique'' 23:3 (1982): 29.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1990_walsh_the_sublime_in_the_historical_novel.pdf Walsh, Catherine Henry. “The Sublime in the Historical Novel: Scott and Gil y Carrasco.” ''Comparative Literature'' 42 (1990): 29.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1894_saintbury_the_hist_novel_part_II_scott-dumas.pdf Saintsbury, George. “The Historical Novel: Part II.-Scott and Dumas.” ''Macmillan's Magazine'' 70 (1894 May/Oct.): 321.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1894_saintsbury_the_hist_novel_Part_III_the_successors.pdf Saintsbury, George. &quot;The Historical Novel: Part III.-The Successors.&quot; ''Macmillan's Magazine'' 70 (1894 May/Oct.): 410.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1859_of_novels_historical_and_didactic_bentley's_miscellanny.pdf “Of Novels, Historical and Didactic: The Historical Novel.” ''Bentley's Miscellany'' 46 (1859): 42.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1976_swann_past_into_present_scott_galt_and_the_historical_novel.pdf Swann, Charles. “Past into present: Scott, Galt and the Historical Novel.” ''Literature and History'' 3 (1976 March): 65.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1929_roorbach_the_hist_nov_as_an_aid_in_the_teaching_of_soc_stud.pdf Roorbach, A. O. “The Historical Novel as an Aid in the Teaching of the Social Studies.” ''Historical Outlook'' 20:8 (1929 Dec.): 396.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1764_Walpole_The_Castle_of_Otranto_from_Proj._Gutenberg.pdf Walpole, Horace. ''The Castle of Otranto'', 1764 from Project Gutenberg.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_1.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.1. Edinburgh: John Murray, 1808.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_2.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.2. Edinburgh: John Murray, 1808.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_3.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.3. Edinburgh: John Murray, 1808.]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1808_strutt_queenhoo_hal_vol_4.pdf Strutt, Joseph. ''Queen-Hoo Hall''. vol.4. Edinburgh: John Murray, 1808.]<br /> <br /> Some 'Historical Novels':<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1676_tachmas_prince_of_persia.pdf ''Tachmas Prince of Persia'' (1676).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1678_tudor_prince_of_wales.pdf ''Tudor Prince of Wales'' (1678).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1680_unequal_match.pdf ''The Unequal Match'' (1680).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1690_belon_revivd_fugitive.pdf ''The Reviv'd Fugitive'' (1690).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1692_Spence_Ferrand-Don_Sebastian_King_of_Portugal.pdf ''Don Sebastian King of Portugal'' (1692).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1725_Hist-Novel_ladys-philosophers-stone.pdf ''The Lady's Philosopher's Stone'' (1725).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1729_Mary_Stewart.pdf ''The Life of Mary Stewart'' (1729).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1729_hist-novel_don-carlos.pdf ''Don Carlos'' (1720).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1740_Hist-Novel_Siege_of_Calais.pdf ''The Siege of Calais'' (1740).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1757_oppressed-captive-hist-novel.pdf ''The Oppressed Captive'' (1757).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1779_count-de-rethel-hist-nov_v1.pdf ''The Count de Rethel'', vol. 1 (1779).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1779_count-de-rethel-hist-nov_v2.pdf ''The Count de Rethel'', vol. 2 (1779).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1779_count-de-rethel-hist-nov_v3.pdf ''The Count de Rethel'', vol. 3 (1779).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist-nov_v1.pdf ''The Siege of Belgrade'', vol. 1 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist_nov_v2.pdf ''The Siege of Belgrade'', vol. 2 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist-nov_v3.pdf ''The Siege of Belgrade'', vol. 3 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1741_siege-of-belgrade-hist-nov_v4.pdf ''The Siege of Belgrade'', vol. 4 (1791).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_Netley_Abbey_v1.pdf ''Netley Abbey'', vol.1 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_Netley_Abbey_v2.pdf ''Netley Abbey'', vol.2 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v1.pdf ''The Duke of Clarence'', vol. 1 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v2.pdf ''The Duke of Clarence'', vol. 2 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v3.pdf ''The Duke of Clarence'', vol. 3 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1795_duke-of-clarence-hist-nov_v4.pdf ''The Duke of Clarence'', vol. 4 (1795).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1797_charles-dacres-hist-nov_v1.pdf ''Charles Dacres'', vol. 1 (1797).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1797_charles-dacres-hist-nov_v2.pdf ''Charles Dacres'', vol. 2 (1797).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1798_jaquelina-of-hainault-hist-nov_v1.pdf ''Jaquelina of Hainault'', vol. 1 (1798).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1798_jaquelina-of-hainault-hist-nov_v2.pdf ''Jaquelina of Hainault'', vol. 2 (1798).]<br /> <br /> [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1798_jaquelina-of-hainault-hist-nov_v3.pdf ''Jaquelina of Hainault'', vol. 3 (1798).]<br /> <br /> <br /> [[Category:Summer 2008]]<br /> [[Category:Aufbaumodul]]</div>

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