https://wiki.angl-am.uni-oldenburg.de/wiki/api.php?action=feedcontributions&feedformat=atom&user=Hanna+Suhling 2026-04-17T20:07:30Z User contributions MediaWiki 1.43.8 https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14555 2008-06-28T15:29:17Z

<p>Hanna Suhling: /* Focalisation */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> Tudor:<br /> <br /> The information we get about the characters are solely supplied by the author. The main characters (Tudor &amp; Catharine)are presented in a static way,the reader doesn't get any information about the past or the development.<br /> <br /> Tudor is described as handsome and intelligent, a heart-throb(Frauenschwarm, sagt man das so??). &quot;That Prince (Tudor) was indeed endowed with most engaging qualities; for besides the excellent Beauty and Comeliness of Body, he possessed a gentile and pleasant Wit, which easily insinuates, and contributes as much to the Conquest of Hearts, as all the sparkling Lustre of the World.&quot; p.15<br /> <br /> Catharine is descriebed as stunning beautiful and extremely amiable. &quot;...Catharine...was justly esteemed one of the greatest Beauties, and most lovely persons that have ever been.&quot;<br /> <br /> The other characters are little described, all of them are introduced togehter by Tudor. &quot;The men appeared to me extremely civil and well bred; and the Ladies (to my fancie)performed all their set about with so good Air, that I thought other Countries destitute of the Politeness which was to be found in France.&quot; p. 19 <br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> <br /> Tudor:<br /> <br /> As well as in Tachmas, the action in Tudor consists of dialouges held by the characters. It focusses on the liaison between Tudor and Catharine and intrigues and missunderstandings.<br /> The plot is rather linear, but to describe how the intrigues are woven and the missunderstandings emerged the actions are sometimes overlapping.<br /> &quot;In the meantime the Dolphin had noticed of the missunderstanding that was between these Lovers, and was willing to make advantage of their quarrels; upon which design he managed some secret interviews with Madame de Giack.&quot; p.81<br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> <br /> Tudor:<br /> <br /> In Tudor the narrator cannot be identified as a specific person or character. The story is also told from the outside and there are no signs of unreliability (the narrator neither is personally involved, nor has limited knowledge). As in Tachmas the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> <br /> <br /> Tudor:<br /> <br /> see Tachmas<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14554 2008-06-28T15:28:10Z

<p>Hanna Suhling: /* Narration */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> Tudor:<br /> <br /> The information we get about the characters are solely supplied by the author. The main characters (Tudor &amp; Catharine)are presented in a static way,the reader doesn't get any information about the past or the development.<br /> <br /> Tudor is described as handsome and intelligent, a heart-throb(Frauenschwarm, sagt man das so??). &quot;That Prince (Tudor) was indeed endowed with most engaging qualities; for besides the excellent Beauty and Comeliness of Body, he possessed a gentile and pleasant Wit, which easily insinuates, and contributes as much to the Conquest of Hearts, as all the sparkling Lustre of the World.&quot; p.15<br /> <br /> Catharine is descriebed as stunning beautiful and extremely amiable. &quot;...Catharine...was justly esteemed one of the greatest Beauties, and most lovely persons that have ever been.&quot;<br /> <br /> The other characters are little described, all of them are introduced togehter by Tudor. &quot;The men appeared to me extremely civil and well bred; and the Ladies (to my fancie)performed all their set about with so good Air, that I thought other Countries destitute of the Politeness which was to be found in France.&quot; p. 19 <br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> <br /> Tudor:<br /> <br /> As well as in Tachmas, the action in Tudor consists of dialouges held by the characters. It focusses on the liaison between Tudor and Catharine and intrigues and missunderstandings.<br /> The plot is rather linear, but to describe how the intrigues are woven and the missunderstandings emerged the actions are sometimes overlapping.<br /> &quot;In the meantime the Dolphin had noticed of the missunderstanding that was between these Lovers, and was willing to make advantage of their quarrels; upon which design he managed some secret interviews with Madame de Giack.&quot; p.81<br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> <br /> Tudor:<br /> <br /> In Tudor the narrator cannot be identified as a specific person or character. The story is also told from the outside and there are no signs of unreliability (the narrator neither is personally involved, nor has limited knowledge). As in Tachmas the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14553 2008-06-28T15:04:37Z

<p>Hanna Suhling: /* Action */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> Tudor:<br /> <br /> The information we get about the characters are solely supplied by the author. The main characters (Tudor &amp; Catharine)are presented in a static way,the reader doesn't get any information about the past or the development.<br /> <br /> Tudor is described as handsome and intelligent, a heart-throb(Frauenschwarm, sagt man das so??). &quot;That Prince (Tudor) was indeed endowed with most engaging qualities; for besides the excellent Beauty and Comeliness of Body, he possessed a gentile and pleasant Wit, which easily insinuates, and contributes as much to the Conquest of Hearts, as all the sparkling Lustre of the World.&quot; p.15<br /> <br /> Catharine is descriebed as stunning beautiful and extremely amiable. &quot;...Catharine...was justly esteemed one of the greatest Beauties, and most lovely persons that have ever been.&quot;<br /> <br /> The other characters are little described, all of them are introduced togehter by Tudor. &quot;The men appeared to me extremely civil and well bred; and the Ladies (to my fancie)performed all their set about with so good Air, that I thought other Countries destitute of the Politeness which was to be found in France.&quot; p. 19 <br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> <br /> Tudor:<br /> <br /> As well as in Tachmas, the action in Tudor consists of dialouges held by the characters. It focusses on the liaison between Tudor and Catharine and intrigues and missunderstandings.<br /> The plot is rather linear, but to describe how the intrigues are woven and the missunderstandings emerged the actions are sometimes overlapping.<br /> &quot;In the meantime the Dolphin had noticed of the missunderstanding that was between these Lovers, and was willing to make advantage of their quarrels; upon which design he managed some secret interviews with Madame de Giack.&quot; p.81<br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14552 2008-06-28T15:04:17Z

<p>Hanna Suhling: /* Action */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> Tudor:<br /> <br /> The information we get about the characters are solely supplied by the author. The main characters (Tudor &amp; Catharine)are presented in a static way,the reader doesn't get any information about the past or the development.<br /> <br /> Tudor is described as handsome and intelligent, a heart-throb(Frauenschwarm, sagt man das so??). &quot;That Prince (Tudor) was indeed endowed with most engaging qualities; for besides the excellent Beauty and Comeliness of Body, he possessed a gentile and pleasant Wit, which easily insinuates, and contributes as much to the Conquest of Hearts, as all the sparkling Lustre of the World.&quot; p.15<br /> <br /> Catharine is descriebed as stunning beautiful and extremely amiable. &quot;...Catharine...was justly esteemed one of the greatest Beauties, and most lovely persons that have ever been.&quot;<br /> <br /> The other characters are little described, all of them are introduced togehter by Tudor. &quot;The men appeared to me extremely civil and well bred; and the Ladies (to my fancie)performed all their set about with so good Air, that I thought other Countries destitute of the Politeness which was to be found in France.&quot; p. 19 <br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> <br /> Tudor:<br /> <br /> As well as in Tachmas, the action in Tudor consists of dialouges held by the characters. It focusses on the liaison between Tudor and Catharine and intrigues and missunderstandings.<br /> The plot is rather linear, but to describe how the intrigues are woven and the missunderstandings emerged the actions are sometimes overlapping.<br /> &quot;In the meantime the Dolphin had noticed of the missunderstanding that was between these Lovers, and was willing to make advantage of their quarrels; upon which design he managed some secret interviews with Madame de Giack.&quot; p.81<br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14551 2008-06-28T15:03:26Z

<p>Hanna Suhling: /* Action */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> Tudor:<br /> <br /> The information we get about the characters are solely supplied by the author. The main characters (Tudor &amp; Catharine)are presented in a static way,the reader doesn't get any information about the past or the development.<br /> <br /> Tudor is described as handsome and intelligent, a heart-throb(Frauenschwarm, sagt man das so??). &quot;That Prince (Tudor) was indeed endowed with most engaging qualities; for besides the excellent Beauty and Comeliness of Body, he possessed a gentile and pleasant Wit, which easily insinuates, and contributes as much to the Conquest of Hearts, as all the sparkling Lustre of the World.&quot; p.15<br /> <br /> Catharine is descriebed as stunning beautiful and extremely amiable. &quot;...Catharine...was justly esteemed one of the greatest Beauties, and most lovely persons that have ever been.&quot;<br /> <br /> The other characters are little described, all of them are introduced togehter by Tudor. &quot;The men appeared to me extremely civil and well bred; and the Ladies (to my fancie)performed all their set about with so good Air, that I thought other Countries destitute of the Politeness which was to be found in France.&quot; p. 19 <br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> <br /> Tudor:<br /> <br /> As well as in Tachmas, the action in Tudor consists of dialouges held by the characters. It focusses on the liaison between Tudor and Catharine and intrigues and missunderstandings.<br /> The plot is rather linear, but to describe how the intrigues are woven and the missunderstandings emerged the actions are sometimes overlapping. &quot;In the meantime the Dolphin had noticed of the missunderstanding that was between these Lovers, and was willing to make advantage of their quarrels; upon which design he managed some secret interviews with Madame de Giack.&quot; p.81<br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14550 2008-06-28T14:50:38Z

<p>Hanna Suhling: /* Action */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> Tudor:<br /> <br /> The information we get about the characters are solely supplied by the author. The main characters (Tudor &amp; Catharine)are presented in a static way,the reader doesn't get any information about the past or the development.<br /> <br /> Tudor is described as handsome and intelligent, a heart-throb(Frauenschwarm, sagt man das so??). &quot;That Prince (Tudor) was indeed endowed with most engaging qualities; for besides the excellent Beauty and Comeliness of Body, he possessed a gentile and pleasant Wit, which easily insinuates, and contributes as much to the Conquest of Hearts, as all the sparkling Lustre of the World.&quot; p.15<br /> <br /> Catharine is descriebed as stunning beautiful and extremely amiable. &quot;...Catharine...was justly esteemed one of the greatest Beauties, and most lovely persons that have ever been.&quot;<br /> <br /> The other characters are little described, all of them are introduced togehter by Tudor. &quot;The men appeared to me extremely civil and well bred; and the Ladies (to my fancie)performed all their set about with so good Air, that I thought other Countries destitute of the Politeness which was to be found in France.&quot; p. 19 <br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> <br /> Tudor:<br /> <br /> As well as in Tachmas, the action in Tudor consists of dialouges held by the characters. It focusses on the liaison between Tudor and Catharine and intrigues and missunderstandings.<br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14549 2008-06-28T14:38:07Z

<p>Hanna Suhling: /* Characters */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> Tudor:<br /> <br /> The information we get about the characters are solely supplied by the author. The main characters (Tudor &amp; Catharine)are presented in a static way,the reader doesn't get any information about the past or the development.<br /> <br /> Tudor is described as handsome and intelligent, a heart-throb(Frauenschwarm, sagt man das so??). &quot;That Prince (Tudor) was indeed endowed with most engaging qualities; for besides the excellent Beauty and Comeliness of Body, he possessed a gentile and pleasant Wit, which easily insinuates, and contributes as much to the Conquest of Hearts, as all the sparkling Lustre of the World.&quot; p.15<br /> <br /> Catharine is descriebed as stunning beautiful and extremely amiable. &quot;...Catharine...was justly esteemed one of the greatest Beauties, and most lovely persons that have ever been.&quot;<br /> <br /> The other characters are little described, all of them are introduced togehter by Tudor. &quot;The men appeared to me extremely civil and well bred; and the Ladies (to my fancie)performed all their set about with so good Air, that I thought other Countries destitute of the Politeness which was to be found in France.&quot; p. 19 <br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14548 2008-06-28T14:00:58Z

<p>Hanna Suhling: /* Comparison */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are presented in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Textual_Analysis&diff=14547 2008-06-28T13:58:05Z

<p>Hanna Suhling: /* Setting */</p> <hr /> <div>This page is currently under construction.<br /> <br /> This is a subpage of [[2008 AM Historical Novels|Historical Novels]] and deals with the specific topic of textual analysis of the historical novels that are subject of this course. These novels are ''Waverley'' by Sir Walter Scott, ''Tachmas, Prince of Persia'' by Jean-Regnauld Segrais, ''Tudor, A Prince of Wales'' by an anonymous author and ''Charles Dacres'' by an anonymous author.<br /> There are two other expert groups within this course, [[Writing of History]] and [[Problems of Genre]].<br /> <br /> ==Story-based Analysis==<br /> <br /> <br /> ===Setting===<br /> <br /> Tachmas:<br /> <br /> The novel is set in Persia around the 1666 to 1676. The exact date is not mentioned in the novel, may be deduced by several facts. The subtitle of the novel is 'An Historical Novel, which happn'd under the Sophy Seliman, who Reigns at this day'. It can be assumed that Sophy Seliman is the Persian Shah Suleiman I., who's reign lasted from 1666 to 1694. Since the novel was published 1676 this limits the time the novel could take place in to the first decade of Suleiman's rule.<br /> The setting is not described any further, the reader has to imagine it by himself.<br /> <br /> Tudor:<br /> <br /> The novel is set in France, at the French court, around the 1413 to 1461. As in Tachmas, the exact date is never mentioned in the text, but may also be deduced by several facts ( the novel begins with &quot;...when war which had continued for so many ages between the English and Welsh, seemed to be put to an end...&quot; p.3 and ends with Owen Tudor's execution p.154; Henry V's landing in the Normandy also hints to this period of time).<br /> The setting is not described any further.<br /> <br /> ===Characters===<br /> Tachmas:<br /> <br /> Instead of elaborating on the setting, the novel describes the characters in length, especially prince Tachmas. The characterisation technique are solely an authorial, explicit description for all the characters.<br /> <br /> Tachmas is described as an good looking and intelligent prince. “It is hard to guess whether Tachmas was more obliged to Nature for the Perfections of his Body, or the Excellencies of his Mind [...]” (Tachmas, 3). These perfections, together with his good reputation evoke fears in his brother, the Sophy Seliman, that Tachmas wants to replace him. His flaw is that he is overly trusting, both in his brother and in his advisor, Allagolikan. Tachmas appears as a closed and monodimensional character, there are no enigmatic points, no actions that the reader cannot explain or understand. He does not change during the course of the novel and is therefore static.<br /> <br /> Negara, the leading female character, is described at equal length. She is beautiful and charming and has “A Wit [that] gave a particular grace to all she said.” (Tachmas, 7). She is of noble blood and has an equally good reputation.<br /> <br /> The Sophy Seliman and the antagonist Allagolikan, as well as the slave Sunamire, are also described in detail, although not as lengthy as the main characters.<br /> <br /> <br /> <br /> Waverley:<br /> <br /> Edward Waverley:<br /> * son of Richard Waverley<br /> * grows up with his uncle Sir Everard and Rachel at Waverley Honour<br /> * spends his youth reading in his uncle’s library Zitat 6 <br /> * lack of “proper” education (Zitat 5)<br /> * romantic and idealistic (Zitat 7)<br /> * innocent to the world<br /> * avoids responsibility and making decisions<br /> * a “mediocre hero”? (Georg Lukács<br /> <br /> Rose Bradwardine: (light heroine)<br /> * daughter of Lowland baron Bradwardine<br /> * shares love for poetry with Edward <br /> * kind, caring, gentle, harmless<br /> * beautiful but not exciting <br /> * Edward marries her in the end<br /> <br /> Flora McIvor: (dark heroine)<br /> * sister of Highland chief Fergus McIvor <br /> * passionate for the cause of Jacobitism<br /> * does not show any interest in Edward except for political reasons <br /> * exotic and beautiful (waterfall scene!)<br /> * intelligent<br /> * Edward is fascinated by her<br /> <br /> ===Action===<br /> <br /> Tachmas:<br /> <br /> The action in Tachmas mainly consists of dialogues held by the characters. It focusses on the love relationship between Tachmas and Negara and the intrigues woven by Allagolikan to manufacture the downfall of Tachmas, his mortal enemy. The last four pages sees the death of all of the characters except Sophy Seliman. Negara poisons herself because she thought Tachmas was already dead. The prince's mother, Begona, had already poisoned herself. Sunamire stabbed herself for her treachery. Allagolikan kills Tachmas before Sophy Seliman can step in to save him, who in turn orders Allagolikan to be strangled on the instant.<br /> <br /> <br /> ===Comparison===<br /> <br /> The first novel, Tachmas, was published in 1676, Tudor in 1687, Charles Dacres in 1797 und Waverley 1814. Tachmas and Tudor are written in roughly the same time frame, while Charles Dacres and Waverley were written almost 100 years later. <br /> Looking at the four texts, we can see a development in setting description over time. While in Tachmas in Tudor, there is almost no setting description, it is at least sparingly used in Charles Dacres to describe certain character traits (Charles Dacres, p. 35). In contrast, Sir Walter Scott uses rather detailed setting descriptions in Waverley. This development may be part of the general development of “historical novels”. The historical accuracy only plays a minor role in Tachmas and Tudor, while in Charles Dacres it becomes more important and in Waverley it is the main focus. The plot in Tachmas and Tudor can basically be transferred to any court in any place in any time. According to the increased importance of the historical facts, Charles Dacres and Waverley are bound to the their specific setting.<br /> <br /> As regarding the introduction of the characters, again it becomes obvious that there is a development from a rather superficial to a more detailed description. In Tachmas and Tudor, the main characters are present in a static way. The reader is not informed about their past or any development. In Charles Dacres and Waverley, the main characters become more dynamic and beside the historical accuracy, the development of the characters becomes the main focus. <br /> <br /> There is also a development in the description of the characters. In Tudor and Tachmas, all the information we get is explicitly supplied by the author. The characters are mostly closed and static characters. In Charles Dacres, we have the same authorial description but we also learn more about Charles Dacres’ character traits through descriptions of other characters. Additionally, the name of the character already hints at his or her outward appearance and his or her character. Most of the other characters in this can be described as types, whereas Charles Dacres is an individual. <br /> <br /> In addition to the other techniques of character descriptions mentioned above, Scott reveals information about his characters in letting them talk about each other (Waverley, p. 70). He also uses dialects in order to authenticate the characters.<br /> <br /> With regards to action, there is also a development. In Tudor and Tachmas, the main action is talking and discussing. The plots are rather linear although there are some overlapping actions. In Charles Dacres, the whole plot becomes more complex because there are many independent subplots. These subplots are used to describe the character of Charles Dacres. In Waverley these subplots are used to describe history and different perception of the events.<br /> <br /> ==Discourse-based Analysis==<br /> <br /> <br /> ===Narration===<br /> <br /> Tachmas:<br /> <br /> The narrator cannot be identified as a specific person or character. The story is told from the outside. There are no signs of the unreliability of the narrator. Therefore the narrator can be classified as extra- and heterodiegetic, covert and reliable.<br /> <br /> ===Focalisation===<br /> <br /> Tachmas:<br /> <br /> The story is seen through the eyes of an omniscient narrator and is therefore a zero-focalisation.<br /> <br /> ===Aspects of Time===<br /> <br /> Tachmas:<br /> <br /> As a recollection of past events the narration is ulterior.<br /> <br /> ===Discourse Mode===<br /> <br /> <br /> <br /> ===Comparison===<br /> <br /> Again, there is a development towards more complex concepts of discourse from the early novels to the later ones. Whereas the narrator in Tachmas and Tudor is unspecific, covert and hetero- and extradiegetic, the narrator is sometimes overt in Charles Dacres (Charles Dacres Vol.2, 9) and Waverley (Waverley, 115). Although the narrator is not part the story, he nevertheless has a kind of benevolent fatherly attitude towards their protagonists, commenting and criticising them on times.<br /> <br /> In Waverley the reliability of the narrator can be questioned at times (Waverley, 33)<br /> <br /> There is a zero focalisation in Tachmas and Tudor. Due to the partly overtness of the narrator in Charles Dacres and Waverley the focalisation is multiple.<br /> <br /> The narration is ulterior in all the novels. There are no ellipses in Tachmas and Waverley, but significant ones in the other novels.<br /> <br /> ==Cited Works==<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 1)<br /> <br /> Anonymous. ''Charles Dacres: or, The Voluntary Exile''. 1797 (Volume 2)<br /> <br /> Anonymous. ''Tudor, A Prince of Wales - An Historical Novel''. London, 1678<br /> <br /> Segrais, Jean-Regnauld. ''Tachmas, Prince of Persia - An Historical Novel which happen'd under the Sophy Seliman, who Reigns at this day''. Translation by P. Porter. London, 1676<br /> <br /> Scott, Walter. ''Waverley''. Oxford, Oxford University Press, 1998<br /> <br /> ==Links==</div>

Hanna Suhling https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=2008_AM_Historical_Novels&diff=13786 2008-05-27T13:52:21Z

<p>Hanna Suhling: /* 20.05.2008 */</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 /> ==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 /> 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>

Hanna Suhling