Angl-Am - User contributions [en]

Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (1789)

2009-05-14T10:54:00Z

Robert Vehse: /* Open access websites */ More typos

* [http://www.angl-am.uni-oldenburg.de/intro-to-literature/d/1789_Equiano_Interesting_Narrative-v1.pdf Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano'', Part 1 (1789)] [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=1596900601&srchtp=a&SU=All&c=1&df=f&d2=1&docNum=CB3328828699&h2=1&vrsn=1.0&al=All&af=BN&d6=1&d3=1&ste=10&d4=0.33&stp=Author&n=10&d5=d6&ae=T140573+ ECCO]
* [http://www.angl-am.uni-oldenburg.de/intro-to-literature/d/1789_Equiano_Interesting_Narrative-v2.pdf Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano'', Part 2 (1789)] [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=1596900602&srchtp=ra&SU=All&c=1&df=f&d2=1&docNum=CB3328828988&h2=1&vrsn=1.0&al=All&af=BN&d6=1&d3=1&ste=10&d4=0.33&stp=Author&n=10&d5=d6&ae=T140573+ ECCO]

==Research==
do not only give links. Evaluate them!

===Wikipedia===
:* http://en.wikipedia.org/wiki/Equiano
:* http://de.wikipedia.org/wiki/Equiano

===Open access websites===
A short biography of Olaudah Equiano, which could be useful for a first orientation
:*http://www.bbc.co.uk/history/historic_figures/equiano_olaudah.shtml
A very interesting and detailed page: it includes a map of Equiano's travels, an annotated bibliography of Equiano studies, extracts from "the Interesting Narrative" and this page discusses the question of Equiano's place of birth. Furthermore we can find other useful weblinks on Equiano. A very useful page for research on Equiano.
:*http://www.brycchancarey.com/equiano/
This page includes a short summary and a timeline of the life of Olaudah Equiano. This page offers some starting points for interpretation and discussion and also some weblinks.
:*http://www.wmich.edu/dialogues/texts/lifeofolaudahequano.htm
Editorial text, offering a great deal of information required for an understanding and appreciation of Equiano. Especially in terms of contextualizing it might be useful.
:*http://www9.georgetown.edu/faculty/bassr/heath/syllabuild/iguide/vassa.html
Brief summary of the novel with useful and interesting links, concerning Equiano's biography, the importance of his narrative and his people in general.
:*http://www.pbs.org/wgbh/aia/part1/1p276.html
Autobiographical facts about Equiano - best selling author and abolitionist.
:*http://www.black-history-month.co.uk/articles/olaudah_equiano.html
Basic knowledge and information for example on Equiano's "Early Life", "Enslavement", "Family in Britain", "Last days and will" etc.:
:*http://www.absoluteastronomy.com/topics/Olaudah_Equiano (disadvantage: maybe a little sketchy for a full scientific research)

===Restricted access===
:* the [http://www.bis.uni-oldenburg.de/dbis/ Databases provided on campus]
:* the [http://www.ibit.uni-oldenburg.de/18034.html e-Journals provided on Campus]

*ECCO?

===Campus library===

Few books can be found in our [http://katalog.ibit.uni-oldenburg.de/cgi-bin/frameset?starten=opac&TERM=137918&MODUS=0&INP=&la=1&mb=alles&AKTIV=3 library] about Mr. Equiano. There are just some editions of his autobiography.
You can find something about slave trade in general (search words like "slave trade", "18th century" + "slavery", ...):

:* Slaves who abolished slavery (soz 505 BA 7643)

:* The Caribbean slave trade (his 716 jam AX 2435)

:* The African slave trade from the fifteenth to the nineteenth century (soz 505 AS 8058)

:* The business of abolishing the British slave trade (soz 505 3ke CE 6880)

:* ...

It is recommendable to use the "Freitextsuche", for you will get more search results!

Furthermore, you might find some essays/books/... ''via GVK'', which are available in our campus library, but which you cannot find via ORBIS.

===Inter-library loan===

Many essays on Equiano, slave trade, ... can be found via the [http://gso.gbv.de/xslt/START_ABOUT?COOKIE=U8157,K8157,D2.1,E329beb21-10c6,I120,B0715++++++,SY,A\9008+J,,1,,U,,7,H6-12,,15-17,,19-21,,30,,73-77,,88-90,NBIS+OLDENBURG,R134.106.200.182,FN GVK]!

About Equiano’s life and doings (diverse views on his autobiography and his life):
:* An African's life : the life and times of Olaudah Equiano, 1745 – 1797

:* An intergenerational model of posttraumatic stress disorder in the African American community : an analysis of the autobiographies of Olaudah Equiano, Harriet A. Jacobs, Zora Neale Hurston, and Langston Hughes

:* Equiano and anti-slavery in eighteenth-century Belfast

:* Olaudah Equiano, an early Nigerian Informant (1789) - a search for his original home

:* Witnessing the Middle Passage : trauma and memory in the narratives of Olaudah Equiano and Venture Smith and in Toni Morrison's Beloved

:* ...

About cultural aspects (what did other African writers experience - forms of protest, the debate on human rights,... ):
:* Black Atlantic writers of the eighteenth century : living the new exodus in England and the Americas

:* Genius in bondage : literature of the early Black Atlantic

:* Measuring the moment : strategies of protest in eighteenth-century Afro-English writing

:* Sea-changes and identities : dislocation and the narrative formation of cultural self-concepts (Olaudah Equiano, James Baldwin, William Gardner Smith)

:* The Black aesthetic unbound : theorizing the dilemma of eighteenth-century African American literature

:* The trickster comes west : Pan-African influence in early Black diasporan narratives

:* ...

===MLA===

Equiano and Religion:

:* http://muse.jhu.edu/journals/eighteenth-century_studies/v034/34.4potkay.html

The last paragraph is about religion.
Gives some interesting facts.

And some other articles which might be interesting and fit into the topic as well, all of them available via “Fernleihe“:

:*Shlensky, Lincoln. "'To Rivet and Record': Conversion and Collective Memory in Equiano's Interesting Narrative." ''Slavery and the Cultures of Abolition: Essays Marking the Bicentennial of the British Abolition Act of 1807''. Eds. Brycchan Carey and Peter J. Kitson. Cambridge, England: Brewer, 2007. 110-29.

:*Elrod, Eileen Razzari. "Moses and the Egyptian: Religious Authority in Olaudah Equiano's Interesting Narrative." ''African American Review'' 35.3 (2001 Fall): 409-25.

---------------

Equiano and Slave Trade:

:* http://muse.jhu.edu/journals/eighteenth-century_studies/v040/40.2boulukos.html Very interesting, about the debate concerning slave trade.

:* http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3041901 Just an abstract about slavery. The whole text is available if wanted.

Again some articles which are available via “Fernleihe“:

:*Boulukos, George. ''The Grateful Slave: The Emergence of Race in Eighteenth-Century British and American Culture''. Cambridge, England: Cambridge UP, 2008.

:*Collins, Janelle. "Passage to Slavery, Passage to Freedom: Olaudah Equiano and the Sea." ''Novel: A Forum on Fiction'' 39.1 (2005 Fall): 209-23.

:*Bozeman, Terry S. "Interstices, Hybridity, and Identity: Olaudah Equiano and the Discourse on the African Slave Trade." ''Studies in the Literary Imagination'' 36.2 (2003 Fall): 61-70.

This article is not available via “Fernleihe“, but it sounded so interesting that I do want to mention it. It’s mostly about what the title sais and has an interesting view on slavery:

:*DeRosa, Robin. "Nothing in the Trunk: Parody in the Narrative of Olaudah Equiano." ''Assimilation and Subversion in Earlier American Literature''. Ed. Robin DeRosa. Newcastle upon Tyne, England: Cambridge Scholars, 2006. 68-82.

---------------

Equiano in general:

These articles are about the Narrative or Equiano in general and also available via “Fernleihe“:

:*Earley, Samantha Manchester. "Writing from the Center or the Margins? Olaudah Equiano's Writing Life Reassessed." ''African Studies Review'' 46.3 (Dec. 2003): 1-16.

:*Carretta, Vincent. ''Equiano the African: Biography of a Self-Made Man''. Athens, GA: U of Georgia P, 2005.

These are only a few texts you can find when searching through MLA. Try different keywords or combinations of two or three keywords.

[[Category:18th century|1789]]
[[Category:1780s|1789]]
[[Category:By author|Equiano, Olaudah]]

Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (1789)

2009-05-14T10:50:18Z

Robert Vehse: /* open access websites */ Typos

* [http://www.angl-am.uni-oldenburg.de/intro-to-literature/d/1789_Equiano_Interesting_Narrative-v1.pdf Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano'', Part 1 (1789)] [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=1596900601&srchtp=a&SU=All&c=1&df=f&d2=1&docNum=CB3328828699&h2=1&vrsn=1.0&al=All&af=BN&d6=1&d3=1&ste=10&d4=0.33&stp=Author&n=10&d5=d6&ae=T140573+ ECCO]
* [http://www.angl-am.uni-oldenburg.de/intro-to-literature/d/1789_Equiano_Interesting_Narrative-v2.pdf Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano'', Part 2 (1789)] [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=1596900602&srchtp=ra&SU=All&c=1&df=f&d2=1&docNum=CB3328828988&h2=1&vrsn=1.0&al=All&af=BN&d6=1&d3=1&ste=10&d4=0.33&stp=Author&n=10&d5=d6&ae=T140573+ ECCO]

==Research==
do not only give links. Evaluate them!

===Wikipedia===
:* http://en.wikipedia.org/wiki/Equiano
:* http://de.wikipedia.org/wiki/Equiano

===Open access websites===
A short biography of Olaudah Equiano, which could be useful for a first orientation
:*http://www.bbc.co.uk/history/historic_figures/equiano_olaudah.shtml
A very interesting and detailed page: it includes a map of Equiano's travels, an annotated bibliography of Equiano studies, extracts from "the Interesting Narrative" and this page discusses the question of Equiano's place of birth. Furthermore we can find other useful weblinks on Equiano. A very useful page for research on Equiano.
:*http://www.brycchancarey.com/equiano/
This page includes a short summary and a timeline of the life of Olaudah Equiano. This page offers some starting points for interpretation and discussion and also some weblinks.
:*http://www.wmich.edu/dialogues/texts/lifeofolaudahequano.htm
Editorial text, offering a great deal of information required for an understanding and appreciation of Equiano. Especially in terms of contextualizing it might be usefull.
:*http://www9.georgetown.edu/faculty/bassr/heath/syllabuild/iguide/vassa.html
Brief summary of the novel with usefull and interesting links, concerning Equiano's biography, the importanca of his narrative and his people in general.
:*http://www.pbs.org/wgbh/aia/part1/1p276.html
Autobiographical facts about Equiano - best selling author and abolitionist.
:*http://www.black-history-month.co.uk/articles/olaudah_equiano.html
Basic knowledge and information for example on Equiano's "Early Life", "Enslavement", "Family in Britain", "Last days and will" etc.:
:*http://www.absoluteastronomy.com/topics/Olaudah_Equiano (disadvantage: maybe a little sketchy for a full scientific research)

===Restricted access===
:* the [http://www.bis.uni-oldenburg.de/dbis/ Databases provided on campus]
:* the [http://www.ibit.uni-oldenburg.de/18034.html e-Journals provided on Campus]

*ECCO?

===Campus library===

Few books can be found in our [http://katalog.ibit.uni-oldenburg.de/cgi-bin/frameset?starten=opac&TERM=137918&MODUS=0&INP=&la=1&mb=alles&AKTIV=3 library] about Mr. Equiano. There are just some editions of his autobiography.
You can find something about slave trade in general (search words like "slave trade", "18th century" + "slavery", ...):

:* Slaves who abolished slavery (soz 505 BA 7643)

:* The Caribbean slave trade (his 716 jam AX 2435)

:* The African slave trade from the fifteenth to the nineteenth century (soz 505 AS 8058)

:* The business of abolishing the British slave trade (soz 505 3ke CE 6880)

:* ...

It is recommendable to use the "Freitextsuche", for you will get more search results!

Furthermore, you might find some essays/books/... ''via GVK'', which are available in our campus library, but which you cannot find via ORBIS.

===Inter-library loan===

Many essays on Equiano, slave trade, ... can be found via the [http://gso.gbv.de/xslt/START_ABOUT?COOKIE=U8157,K8157,D2.1,E329beb21-10c6,I120,B0715++++++,SY,A\9008+J,,1,,U,,7,H6-12,,15-17,,19-21,,30,,73-77,,88-90,NBIS+OLDENBURG,R134.106.200.182,FN GVK]!

About Equiano’s life and doings (diverse views on his autobiography and his life):
:* An African's life : the life and times of Olaudah Equiano, 1745 – 1797

:* An intergenerational model of posttraumatic stress disorder in the African American community : an analysis of the autobiographies of Olaudah Equiano, Harriet A. Jacobs, Zora Neale Hurston, and Langston Hughes

:* Equiano and anti-slavery in eighteenth-century Belfast

:* Olaudah Equiano, an early Nigerian Informant (1789) - a search for his original home

:* Witnessing the Middle Passage : trauma and memory in the narratives of Olaudah Equiano and Venture Smith and in Toni Morrison's Beloved

:* ...

About cultural aspects (what did other African writers experience - forms of protest, the debate on human rights,... ):
:* Black Atlantic writers of the eighteenth century : living the new exodus in England and the Americas

:* Genius in bondage : literature of the early Black Atlantic

:* Measuring the moment : strategies of protest in eighteenth-century Afro-English writing

:* Sea-changes and identities : dislocation and the narrative formation of cultural self-concepts (Olaudah Equiano, James Baldwin, William Gardner Smith)

:* The Black aesthetic unbound : theorizing the dilemma of eighteenth-century African American literature

:* The trickster comes west : Pan-African influence in early Black diasporan narratives

:* ...

===MLA===

Equiano and Religion:

:* http://muse.jhu.edu/journals/eighteenth-century_studies/v034/34.4potkay.html

The last paragraph is about religion.
Gives some interesting facts.

And some other articles which might be interesting and fit into the topic as well, all of them available via “Fernleihe“:

:*Shlensky, Lincoln. "'To Rivet and Record': Conversion and Collective Memory in Equiano's Interesting Narrative." ''Slavery and the Cultures of Abolition: Essays Marking the Bicentennial of the British Abolition Act of 1807''. Eds. Brycchan Carey and Peter J. Kitson. Cambridge, England: Brewer, 2007. 110-29.

:*Elrod, Eileen Razzari. "Moses and the Egyptian: Religious Authority in Olaudah Equiano's Interesting Narrative." ''African American Review'' 35.3 (2001 Fall): 409-25.

---------------

Equiano and Slave Trade:

:* http://muse.jhu.edu/journals/eighteenth-century_studies/v040/40.2boulukos.html Very interesting, about the debate concerning slave trade.

:* http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3041901 Just an abstract about slavery. The whole text is available if wanted.

Again some articles which are available via “Fernleihe“:

:*Boulukos, George. ''The Grateful Slave: The Emergence of Race in Eighteenth-Century British and American Culture''. Cambridge, England: Cambridge UP, 2008.

:*Collins, Janelle. "Passage to Slavery, Passage to Freedom: Olaudah Equiano and the Sea." ''Novel: A Forum on Fiction'' 39.1 (2005 Fall): 209-23.

:*Bozeman, Terry S. "Interstices, Hybridity, and Identity: Olaudah Equiano and the Discourse on the African Slave Trade." ''Studies in the Literary Imagination'' 36.2 (2003 Fall): 61-70.

This article is not available via “Fernleihe“, but it sounded so interesting that I do want to mention it. It’s mostly about what the title sais and has an interesting view on slavery:

:*DeRosa, Robin. "Nothing in the Trunk: Parody in the Narrative of Olaudah Equiano." ''Assimilation and Subversion in Earlier American Literature''. Ed. Robin DeRosa. Newcastle upon Tyne, England: Cambridge Scholars, 2006. 68-82.

---------------

Equiano in general:

These articles are about the Narrative or Equiano in general and also available via “Fernleihe“:

:*Earley, Samantha Manchester. "Writing from the Center or the Margins? Olaudah Equiano's Writing Life Reassessed." ''African Studies Review'' 46.3 (Dec. 2003): 1-16.

:*Carretta, Vincent. ''Equiano the African: Biography of a Self-Made Man''. Athens, GA: U of Georgia P, 2005.

These are only a few texts you can find when searching through MLA. Try different keywords or combinations of two or three keywords.

[[Category:18th century|1789]]
[[Category:1780s|1789]]
[[Category:By author|Equiano, Olaudah]]

2009 BM2 Introduction to Anglophone Cultural Studies, Part 2

2009-05-11T08:33:04Z

Robert Vehse: typo

*[[User:Annika McPherson|Annika McPherson]]
*[[User:Christina Meyer|Christina Meyer]]
*[[User:Julia Meier|Julia Meier]]
*[[User:Olaf Simons|Olaf Simons]]

See for part 1: [[2008-09 BM2 Introduction to Anglophone Cultural Studies, Part 1]]

__TOC__

==The individual Courses==
* Mo, 10:00 - 12:00, A06 0-001, Olaf Simons: 29 Participants
* Mo, 18:00 - 20:00, Raum: A10 1-121a, Julia Meier
* Tu, 12:00 - 14:00, A10 1-121, Annika McPherson
* Tu, 16:00 - 18:00, A10 1-121a, Christina Meyer
* We, 16:00 - 18:00, A11 1-101, Annika McPherson
* We, 18:00 - 20:00, A06 0-001, Christina Meyer
* We, 18:00 - 20:00, A10 1-121, Olaf Simons: 24 Participants

==General Course Outline==
Cultural studies have seen major developments over the last two decades. These developments have not only transformed approaches to research methodology, but are also questioning existing understandings of related matters such as disciplinary boundaries, academic topics, questions of periodization, epochs, and categorization.
This is part 2 of the introductory module “Introduction to Anglophone Cultural Studies.” The “Übung” will be conducted in smaller groups and is designed to lead into practical work with materials.
Reading suggestions and additional texts will be made available on the reserve shelf (“Handapparat”) in the library and/or on Stud-IP.

Objectives of this “Übung” are to prepare students for participation in critical debates surrounding the historical contexts and modes of analysis of different cultural products of the Anglophone world by
*developing an understanding of the issues and questions dealt with in cultural studies
*developing the necessary (practical) skills for historical contextualization and cultural analysis
*applying these skills to selected topic areas and cultural products/phenomena in the context of historical developments and current critical debates

Students will become familiar with
*a variety of discourses and different conceptions of ‘history’ and ‘culture’
*historical and present day socio-cultural and political debates
*critical schools of thought
*media-specific forms and methods of cultural analysis

Students will
*research and assess relevant database information
*produce and discuss outlines of different source material and critical debates
*apply media-specific approaches for contextualization and analysis
*situate critical debates and methodological approaches
*position a cultural product within its wider context and current relevance
*formulate discourse- and context-specific questions for further research

This “Übung” is mandatory for BA students in Anglistik/Amerikanistik
Prerequisites:
*regular attendance
*mandatory session for everybody: May 19, 2009!!!
*two written assignments (60% of the overall grade for the module)

Language in class: English

==Tutorials==
* Jasmin Bashale: Mo 10-12, S 2-204
* Florian Gubisch: Mo 12-14, A10 1-121a
* Manuel Saralidis: Mo 18 - 20, A01 0-009

==Session 1: Organisation and Introduction==
'''Handout'''
*[[Excerpt]]

*Methods and principles in Cultural Studies,
*explaining the outline of this course
*Text: Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano, Or Gustav Vassa, the African, Written By Himself''. 1789
*close reading of frontmatter & beginning of first chapter; structure of the book
* “Nationallizenzen” and ECCO

'''Homework'''
Read [[Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (1789)]] either Norton Critical edition or pdf-files given on the page
*Vol. I, Ch. V-VI, (better: at least up to VI)
*Vol. II, Chaps. IX-X
*close readings
*read the [[Excerpt]] handout, look through the pdf files of the original text, gather information.

==Session 2: Text Analysis==
*discussing the mandatory readings

==Session 3: Historical Contextualization==
*clarifying the frameworks
*group work (material distributed in class)

'''Materials to look at as course preparation'''

:'''Two Spiritual Autobiographies'''
::*John Bunyan, ''The pilgrim's progress from this world to that which is to come delivered under the similitude of a dream, wherein is discovered the manner of his setting out, his dangerous journey, and safe arrival at the desired countrey'' London: Printed for Nath. Ponder, 1678. [http://en.wikipedia.org/wiki/Pilgrim%27s_Progress Wikipedia] [http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=9726052&FILE=../session/1240138419_1570&SEARCHSCREEN=CITATIONS&VID=44054&PAGENO=1&ZOOM=&VIEWPORT=&SEARCHCONFIG=var_spell.cfg&DISPLAY=AUTHOR&HIGHLIGHT_KEYWORD= EEBO]
::*''An Account of Some Remarkable Passages in the Life of a Private Gentleman'' [...] ''to be communicated to the publick after his decease'' [...] ''the second edition, with additions from the author's original papers'' London: N. Cliff/ D. Jackson, 1711. [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0320400500&srchtp=b&c=26&SU=All&d2=1&docNum=CW3301250241&b0=remarkable+passages&h2=1&vrsn=1.0&b1=KE&d6=1&ste=10&dc=tiPG&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]

:'''The three Parts of Robinson Crusoe'''
::*Daniel Defoe: ''Robinson Crusoe'' part 1: ''The life and strange surprizing adventures of Robinson Crusoe, of York, mariner: who lived eight and twenty years, all alone in an un-inhabited''. London: W. Taylor, 1719. [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0653600100&srchtp=b&c=6&SU=All&df=f&d2=1&docNum=CW3313746641&b0=Robinson+crusoe&h2=1&vrsn=1.0&b1=KE&d6=1&d3=1&ste=10&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]
::*Daniel Defoe: ''Robinson Crusoe'' part 2: ''The farther adventures of Robinson Crusoe; being the second and last part of his life, and of the strange surprizing accounts of his travels'' London: W. Taylor, 1719. [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=1293200400&srchtp=b&c=2&SU=All&d2=1&docNum=CW3317261405&b0=Robinson+crusoe&h2=1&vrsn=1.0&b1=KE&d6=1&ste=10&dc=tiPG&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]
::*Daniel Defoe: ''Robinson Crusoe'' part 3: ''Serious reflections during the life and surprising adventures of Robinson Crusoe: with his vision of the angelick world. Written by himself'' London, W. Taylor. 1720 [http://galenet.galegroup.com/servlet/ECCO?dd=0&locID=bis&d1=0653600100&srchtp=b&c=6&SU=All&df=f&d2=1&docNum=CW3313746641&b0=Robinson+crusoe&h2=1&vrsn=1.0&b1=KE&d6=1&d3=1&ste=10&stp=DateAscend&d4=0.33&n=10&d5=d6 ECCO]

'''Homework'''
*Get you share of the National license to access EEBO and ECCO. Click http://www.nationallizenzen.de to apply.
*Research – where can I find material?
:*Group 1: open access (e.g. the Internet),
:*Group 2: limited access (e.g. online databases),
:*Group 3: on campus library,
:*Group 4: inter-library loan

[[Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano (1789)|Page for Equiano Research Results]]

==Session 4: Research Methods==
'''Handout'''
* [[Literary and Cultural Studies:Research guide]]

'''Exercises & Discussions'''
*Evaluating the quality of research methods and materials
*Research Exercise: GVK Plus

'''Homework'''
*read the following article: Carretta, Vincent. “Defining a Gentleman: The Status of Olaudah Equiano or Gustavus Vassa.” Language Sciences 22 (2000): 385-399. [http://www.angl-am.uni-oldenburg.de/intro-to-literature/d/2000-Carretta-Gentleman.pdf link]

==Session 5: How to Read Secondary Literature==
'''Handouts'''
* [[Understanding Research]]
* [[Literary and Cultural Studies:Writing academic texts]]

'''Exercises & Discussions'''
* Vincent Carretta's article
:# structure
:# argumentation
:# how does the text deal with primary text?
:# how does the article deal with a discussion that has evolved around the Equiano narrative?
:# how do I position myself with respect to the article

'''Assignment 1: DEADLINE: MAY 19, 2009'''
* Compile a Bibliography of secondary research on Olaudah Equiano, ''The Interesting Narrative of the Life of Olaudah Equiano, Or Gustav Vassa, the African, Written By Himself''. 1789
# Give a structured analysis of this bibliography:
#:*Are there noticeable temporal gaps - remarkable intervals of no research?
#:*Is it possible to connect topics of research to individual decades?
# Select and digest one article of this list
#:* Try to place the article in the overview you gave in question one
#:* Give a brief summary of its content and main argument

==Session 6: New Perspectives on Equiano==
'''Exercises & Discussions'''
* Embedding Equiano in the concepts and approaches of Postcolonial Studies, Diaspora (e.g. Paul Gilroy, The Black Atlantic)

==Session 7: ''9/11'' Naudet Brothers, Media Screening, May 19, 2009==
ATTENTION: mandatory for everybody
Room will be announced!

==Session 8: Documentary Film==
'''Handout'''
* [[Film Analysis]]

'''Exercises & Discussions'''
*Close analysis
*Medium “documentary film” – compared to “feature film”; finding a definition; narrative structure? art? fiction?

'''Homework'''
* Background reading

==Session 9: Representations of 9/11 ==
'''Handout'''
* Link

'''Exercises & Discussions'''
* Literature, film, artworks, photography…how does ‘culture’ deal with 9/11

'''Homework'''
* Probing research methods – what can I find out about critical discussions on these events?

==Session 10: Discourse==
'''Handout'''
* Link

'''Exercises & Discussions'''
* Roland Barthes and the Mythologies
* Reading and discussing 3 short articles
* 5 examples (e.g. photographic images)

==Session 11: Constructing/-edness of a Discourse==
'''Handout'''
* [[Discourse Analysis]]

'''Exercises & Discussions'''
* How is a discourse of terror(ism) formed? The terrorist themselves; media; reception
* Comparative analysis of British newspapers
* Goal of the discourse formation ?

'''Homework'''
* to be announced

==Session 12: From Public to Academic Debates==
'''Handout'''
* Link

'''Exercises & Discussions'''
* The terror attacks in the framework of multiculturalism
* Developing theses/statements
* Structure of an (argumentative) essay

'''Homework'''
* to be announced

==Session 13: Round-up==
'''Handout'''
* [[Literary and Cultural Studies:Writing academic texts]]

'''Exercises & Discussions'''
* Preparations for Assignment 2
* Evaluation, feedback

===Literature===

===Workload===
Assignment 2 (take-home):

Argumentative essay (approx. 4 computer-typed pages)

Your research essay has to state and develop a thesis/an argument based on a topic of your choice relating to either part 1 (Olaudah Equiano) or part 2 (9/11 and 7/7) of the "Übung." While developing a thesis/statement on a topic of your choice consider the following questions:
*What do you want to take issue with and why?
*What is your argument?
*How does your statement/thesis relate to the current scholarly debate? What is your position?
Based on your research of relevant primary and secondary sources, and with reference to the discussions and exercises during the semester you have to explain why it is important to take up one particular issue and how this issue relates to the current scholarly debate. Cite from the narrative to back up your answers.

Example: My contention is that in his autobiographical Narrative, Olaudah Equiano mimicks the voice of the colonized/other to subvert the British colonial – eurocentric – discourse. I agree with xyz, who claims that…However, I would go a step further an argue that Equiano’s Narrative is…

Format your essay according to the style sheet; you have to indicate quotations and give references, and you need to compile a bibliography at the end of your essay according to the style sheet.
For further reference: Aczel, Richard. How to Write an Essay. Stuttgart et al.: Klett, 2006.

'''Assignment 2: DEADLINE: August 01, 2009'''

2008-09 BM2 Introduction to Anglophone Cultural Studies, Part 1

2008-11-24T10:11:32Z

Robert Vehse:

* [http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/BM2-Konzeption-08-09.pdf Outline of the entire program - draft]
* [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2_Syllabus_Vorlesung.pdf Syllabus Vorlesung pdf]
* [[2008-09 BM2 Tutorials|Tutorials]] Michaela Koch Fr 12-14/ Florian Gubisch Mo 12-14, beginning with Oct. 24th/27th.

__TOC__

== Introduction (Meyer) Oct. 15, 2008 ==
* Christina Meyer. [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-10-15-outline.ppt Course outline, ppt file]

== Diasporas (Meyer) Oct. 22, 2008 ==
* Christina Meyer. [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-10-21-diasporas-b.ppt Diasporas, ppt file]

== From Anglo Saxon Raids to Global Anglophone Culture (Simons) Oct. 29, 2008 ==
* Olaf Simons. [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-10-29-expansion.pptx The Expansion of the Anglophone Sphere, pptx file], [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-10-29-expansion.ppt ppt file]
* [[BM2-3 Anglophone Expansion:Timeline]] - A page you can expand with hits at good information.

== Harbingers of Freedom, Democracy and Civil Rights? (Simons) Nov. 05, 2008 ==
*[[BM2-4 Political systems]]
* Olaf Simons. [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-11-05-freedom.ppt Harbingers of Freedom? ppt file]

== Religion (Simons) Nov. 12, 2008 ==
*[[BM2-5 Religion]]
* Olaf Simons. [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-11-12-religion.pptx Religion pptx file] [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-11-12-religion.ppt ppt file (does not work that well)]

== An Economic History of the English Speaking World (Simons/McPherson) Nov. 19, 2008 ==
*[[BM2-6 Economy]]
* Olaf Simons. [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-11-19-economy.pptx Economy pptx file], [http://www.uni-oldenburg.de/anglistik/lit-wiss/bm2/BM2-2008-11-19-economy.ppt ppt file]

== Technology and Knowledge (Simons/McPherson) Nov. 26, 2008 ==
== Media and the Public (Meyer) Dec. 3, 2008 ==
== Representations of Justice (Simons) Dec. 10, 2008 ==
== Key Concepts of Cultural Studies (McPherson) Dec. 17, 2008 ==
== The Construct(edness) of Traditions (McPherson/Meyer/Simons) Jan. 07, 2009 ==
== Written Exam, Jan. 14, 2009 ==
== Cultural Icon(s)/Iconology (Meyer) Jan. 21, 2009 ==
== Round-up, Evaluation, New Perspectives (McPherson) Jan. 28, 2009 ==

==Tutorials==
The tutorials have their own page at [[2008-09 BM2 Tutorials]]

==Literature==
*Alexander, Jeffrey C. and Steven Seidman, eds. ''Culture and Society: Contemporary Debates''. Cambridge et al.: Cambridge UP, 1990.
*Bové, Paul. ''Mastering Discourse: The Politics of Intellectual Culture''. Durham, NC: Duke UP, 1992.
*Boyer, Paul S., Clifford E. Clark, Jr. et al., eds. ''The Enduring Vision: A History of the American People''. Concise 4th ed. Boston & New York: Houghton Mifflin Company, 2002.
*Brantlinger, Patrick. ''Crusoe’s Footprints: Cultural Studies in Britain and America''. New York: Routledge, 1990.
*Clifford, James. ''The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art''. Cambridge, MA and London, England: Harvard UP, 1988.
*Geertz, Clifford. ''The Interpretation of Cultures''. New York: Basic Books, 1973.
*Hartley, John and Roberta E. Pearson. ''American Cultural Studies: A Reader''. Oxford et al.: Oxford UP, 2000.
*Holtkamp, Wolfgang. ''Rediscovering America: New Approaches to American Culture''. Stuttgart et al.: Metzler, 2001.
*Jenks, Christ. ''Culture''. Key Ideas. Series Ed. Peter Hamilton. London & New York: Routledge, 1993.
*Marchart, Oliver. ''Cultural Studies''. Konstanz: UVK Verl.-Ges., 2008.
*Nünning, Ansgar and Roy Sommer, eds. ''Kulturwissenschaftliche Literaturwissenschaft: Disziplinäre Ansätze –Theoretische Positionen – Transdisziplinäre Perspektiven''. Tübingen: Gunter Narr, 2004.
*O’Sullivan, Tim. ''Key Concepts in Communication and Cultural Studies''. London et al.: Routledge, 1995.
*Rohr, Susanne, ed. ''Making America: The Cultural Work of Literature''. Heidelberg: Winter, 2000.
*Saldívar, José David. ''Border Matters: Remapping American Cultural Studies''. Berkeley et al.: U of California P, 1997.
*Williams, Patrick, ed. ''Colonial Discourse and Post-Colonial Theory: A Reader''. New York, NY et al.: Harvester Wheatsheaf, 1993.

==Portfolio Requirements==

The Portfolio for the entire module (parts 1 and 2) includes 4 items:

*Portfolio requirements for BM2, Part 1: Lecture -- 3 KP:
:*1 Written Test (40% of the final mark) -- January 14, 2009.

*Portfolio requirements for BM2, Part 2: Practical exercises -- 3 KP:
:*3 Assignements (60% of the final mark) (Week 4, 7, and 10 of term)

'''Note''' Participants of the previous BM2 module are requested to take the second course of practical exercises if possible, so that they will combine practical and theoretical work.
* They can take the present Winter term at 40% and have their previous results count 60%
* They can attend the summer term practical courses at 60% and make their previous work count 40%
* They can do the upcoming winter term written test at 40% add a research paper outline of 20% (talk to us about topics) and combine these 60% with their previous work rated at 40%.

[[Category:Basismodul]]
[[Category:Winter 2008-2009|2009-1]]

What is literature?

2008-01-20T19:58:29Z

Robert Vehse:

__NOTOC__
==The Landscape of Discourses until 1750/1850==

*'''literature''' = learning, learned publications
:* spectrum of materials: predominantly scholarly publications
:* discussed in "histories of literature" (i.e. bibliographies of scientific publications) and in journals reviewing latest events in the republic of learning
:* geographical scope: international; competition of the nations, main languages: Latin and French
:* historical scope: progress in learning and comparison of ancient and modern learning

*'''belles lettres''' = all fashionable and elegant pieces of learning including poetry and fiction
:* spectrum of materials: all fashionable publications such as novels, poems, plays, memoirs, (scandalous) histories
:* discussed mainly in prefaces to elegant works, exceptionally also in works of literature
:* geographical scope: European market, main language French
:* historical scope: comparison of ancient and modern elegance

*'''poetry/poesy''' = artful compositions of language - mainly versified
:* spectrum of materials: poetic genres including prose comedy and all works performed with music such as operas, cantatas, masks, ballets
:* discussed in poetological works with a view on beauties of language and the observation of rules every art and genre has to follow
:* geographical scope: mostly on the main languages of poetry: (due to the inclusion of the opera) Italian and French
:* historical scope: search for the ultimate work in each language

*'''fiction''' = stories to be read for their instruction and entertainment even if they should be feigned
:* spectrum of materials: '''romances''' = fictional prose histories of love and heroism presented in a series of adventures; '''novels''' = short stories related for the sake of the "point" they can "exemplarily" make, usually constructed around an intrigue leading to the surprising point
:* interpreted - after Huet’s ''Treatise on the Origin of Romances'' (1670) - as a cultural indicator
:* geographical scope: all cultures united by a world wide transmission of stories and fashions - great interest in foreign tastes
:* historical scope: all periods - growing interest in fashions of the past

==Period of Transition: 1750-1850==

* The debate of learning adopts and appropriates discussions of the belles lettres, poetry and fiction - yet it changes practically all the discussions it adopts
:* it generates perspectives on the nations and their productions (the preceding debates of the belles lettres, poetry and fiction had concentrated on European market trends),
:* it focuses on the "poetic" (now "literary") genres according to Aristotelian precepts (a measure designed to move the international opera out of the field of potical works to be critically discussed),
:* it accepts a reformed novel as a "literary" genre as long as this novel can be read as a cultural indicator (a step designed to bar the European chronique scandaleuse from all further critical debates).
* Traditional scientific journals offer additional reviews of literature on materials of the belles lettres, new literary journals follow with a focus on poetry, the belles lettres and fiction and change the concept of literature.
* The debate of literature widens as the scope of materials under discussion is narrowed down to the nation's production of poems plays and novels
* The secular school systems adopt the new concept of literature and win a topic to be taught through debates and a critical appeciation of the nation's canonical texts.
* Authors have to decide whether they write
:* popular plays and fiction (not discussed),
:* or "high", "literary" works - worthy to be publicly analysed and appreciated
* A new literary production of plays, poems and novels is written to receive the available public attention
* The supply and demand of poems, plays and fiction grows enormously now that the markets of popular fiction and high literature are established as a battleground of public debates.
* New literary histories are written and spread the notions that
:* literature has (due to its dependence on languages) always developed in national traditions
:* the "literary genres" have always formed a special field of "literary works"
:* literature, i.e. plays, poems and novels have always fulfilled certain ("eternal") purposes in our societies.

==The Landscape of Discourses since the 1850s==
* The sciences have developed their own specialised debates
* The general discussion of literature focuses on a small field of poetic and fictional works which can, however, no longer be defined (due to fact that we can switch between all the debates we have adopted whenever we want to discuss something as "literature")
* The question "What Is Literature?" now becomes a key question one can ask
:* to format the national canon
:* to keep materials out of our general debates of cultural phenomena
:* to promote discussions we could appropriate in order to spread (or to limit) our own debate of literature

==Literature==

* Roland Barthes. "Histoire ou Litérature?" in R. Barthes, ''Sur Racine'' (Paris, 1963), p.155, first published in ''Annales'', 3 (1960).
* René Wellek. "Literature and its Cognates", ''Dictionary of the History of Ideas. Studies of Selected Pivotal Ideas'' 1-4, ed. Philip P. Wiener. New York, 1973, 3: p.81-89.
* Paul Hernadi (ed). ''What Is Literature?''. London, 1978. ISBN 0-253-36505-8
* Jürgen Fohrmann. ''Projekt der deutschen Literaturgeschichte. Entstehung und Scheitern einer nationalen Poesiegeschichtsschreibung zwischen Humanismus und Deutschem Kaiserreich''. Stuttgart, 1989. ISBN 3-476-00660-3
* Rainer Rosenberg. "Eine verworrene Geschichte. Vorüberlegungen zu einer Biographie des Literaturbegriffs", ''Zeitschrift für Literaturwissenschaft und Linguistik'' 77 (1990), 36-65.
* Richard Terry. "The Eighteenth-Century Invention of English Literature. A Truism Revisited", ''Journal for Eigtheenth Century Studies'' 19.1 (1996).
* Olaf Simons. ''Marteaus Europa oder Der Roman, bevor er Literatur wurde'' (Amsterdam/ Atlanta: Rodopi, 2001), [http://www.uni-oldenburg.de/anglistik/lit-wiss/simons/marteaus-europa/085-set.html p.85-94]. ISBN 90-420-1226-9
* Olaf Simons. "Why Literature Is Called Literature" Lecture at Rutgers University (April 12, 2007), [http://www.uni-oldenburg.de/anglistik/lit-wiss/simons/2007-04-12/olaf_simons_literature.mp3 mp3-file 37MB] + [http://www.uni-oldenburg.de/anglistik/lit-wiss/simons/2007-04-12/1962_steinbeck-intro.html html-Presentation]

[[Category:Handout|Literature]]

Excerpt

2008-01-04T17:30:27Z

Robert Vehse:

==Read and digest==

Studying literature you are bound to read a lot of texts from different periods and genres, both "primary" and "secondary literature".

===Underline passages? Leave little notes alongside the text?===

Most of us feel compelled to underline passages while reading. Beginners feel especially safe while underlining. In the end they have a text with 90% marked passages, often in different colors - and regularly of no use at all. Once they are through with the text they have to re-read the underlined passages, and then they realise, that they do have to read the passages they did not underline to make sense of all the underlined passages. A text without the coloured passages would now be easier to read...

If you read an article in a scientific journal restrict your text marks to a minimum. Ask yourself: what are the central ideas and statements and what are passages one has to quote to document this message? An article of 25 pages might contain three or four underlined passages - because you would not quote more if you had to substantiate a summary of the author's position.

===Get the information out of the text!===

You cannot learn and remember everything. It is much more important to remember where you saw the information. That is why you have to get the information '''out of the text''' - into a medium you yourself organise. If you work on a topic open a file in which you gather notes telling you where you found relevant information.

If you read an article or book, create an excerpt that will help you later to trace back relevant information.

==How to write a good excerpt==

===Identify your text===

''Robinson Crusoe'' exists in hundreds of editions - page references vary accordingly. When you begin your excerpt note what edition you used. Try to use an edition you can quote in any context - the first edition of ''Robinson Crusoe'' is available on the web, it is the perfect edition to quote. If you buy an edition rather pay a bit more to get a "critical" edition.

Quote your title according to the [[style sheet]]'s advice - that will help you later to list your title in footnotes or bibliographies with simple copy and paste.

===Give information on length and structure of the book you are summarising===
It makes a difference whether it was a 50 page story or an 800 page novel - your excerpt of a 50 page story can touch the plot briefly and concentrate on interesting observations - you can re-read the text any time. A drama or an 800 page novel is something different. State how many pages it has, give a note on the structure. Maybe make copy of the table of contents.

===Note what information the text originally gave on author and publication details===
If you read (a EEBO or ECCO reproduction of) an original book with an interest to see what kind of book this originally was note details about the format of the original book.

*What information did the title page give? Our modern editions of ''Robinson Crusoe'' offer "Daniel Defoe" as the author and add labels like "literature" or "fiction", "a novel". The original editions played an entirely different game. Take a copy of the original title page if you can. If you can't, you might quote the entire title page as specialists used to do before it became so easy to access scans of the originals - this is a "diplomatic transcript" of ''Robinson Crusoe's'' first edition title page (a quote which gives you information about the original layout of the page):

::THE| LIFE| AND| STRANGE SURPRIZING| ADVENTURES| OF| ''ROBINSON CRUSOE'',| Of ''YORK'', MARINER:| Who lived Eight and Twenty Years,| all alone in an un-inhabited Island on the| Coast of AMERICA, near the Mouth of| the Great River of OROONOQUE;| Having been cast on Shore by Shipwreck, where-|in all the Men perished but himself.| WITH| An Account how he was at last as strangely deli-|ver'd by PYRATES.| [rule]| ''Written by Himself''.| [rule]| ''LONDON:''| Printed for W. TAYLOR at the ''Ship'' in ''Pater-Noster-''|''Row''. MDCCXIX.

*What additional information did the dedication or preface provide (many older texts had these additions - often filled with misleading information).

===Produce a kind of quick diary while reading the text===
While reading it is good to take quick notes - with page references: What happens on these pages, what has happened in the chapter you have just read? in the act or the scene of your play? Taking notes is the only way you make sure you somehow digested the text. Take a piece of paper, note page numbers (act or scene references) on the left and take notes referring to these page numbers.

If you are reading a scientific book take notes of steps the author took - is there a point he/she tries to make? How is it proved.

===After reading the text: reconsider your reading experience===
The excerpt you created while reading the text is often difficult to understand later - you talked about protagonists of the play and said what they did - a year later you might no longer remember how many characters the play had and how they related to each other. Who was in love with whom? Who was whose son? Why did these people do these things? Add a few sentences as a survey and garnish that survey with your personal thoughts. Be frank - if you did not like the text, state it. If you read it because you had to, state it.

If you read books in order to write about them, think of passages you might want to refer to in your paper, Abschlussarbeit or dissertation.

==What do I do with my excerpt?==
Your excerpts should help you to get a broad range of texts to refer to. Your finals will include oral examinations in which you will speak about topics of your choice and about selections of texts you want to discuss under these headings.

You can collect your excerpts with your seminar materials - which is not the best thing to do. It is most convenient if you can recycle materials, i.e. if you can use them in different and ever changing contexts.

Some people take notes on file cards they eventually put into the respective books they have in their bookshelves. Others have Aktenordner for their excerpts (and additional materials they collected). A good way to organise your excerpts in a larger file system is the chronological arrangement: Note the date of the first publication on top of the first page and allow excerpts of books of different fields you study to stand next to each other. It can be extremely interesting to see what kinds of materials were published and read at the same time - or to think whether there are centuries of which you have never read a single line.

==Examples==

*[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/excerpt_hobbes_leviathan_1651.pdf Excerpt of Thomas Hobbes, ''Leviathan'' (1651).] (Handwritten during my student years, used red colour when I quoted Hobbes, was, as it seems, extremely fascinated --[[User:Olaf Simons|Olaf Simons]])
* [http://en.wikipedia.org/wiki/Traitt%C3%A9_de_l%27origine_des_romans Excerpt of Pierre Daniel Huet, ''Treatise on the History of Romances'' (1670)] (my private excerpt in Wikipedia. You might compare this with the German Wikipedia article on the same subject [http://de.wikipedia.org/wiki/Traitt%C3%A9_de_l%E2%80%99origine_des_romans] which is a reprint of the chapter I finally wrote in my dissertation. The comparison gives you an idea of what the excerpt was designed to good for - an idea of the distance between the excerpt and the coherent text I ultimately had to produce. --[[User:Olaf Simons|Olaf Simons]])
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/DUTY.DOC A whole string of excerpts of manuals on duty, in chronological order], produced while I was doing research for my dissertation, mostly transcribed from microfilm -- [[User:Anton Kirchhofer|Anton Kirchhofer]]
*[[Samuel Madden, Memoirs of the Twentieth Century (1733)]] (an excerpt of the first SF-novel, produced collectively in this wiki).
*[http://www.uni-oldenburg.de/anglistik/lit-wiss/downloads/excerpt_holcroft_tale_of_mystery_1802.pdf Excerpt of Thomas Holcroft, ''A Tale of Mystery'' (1802).] (Printed from file, personal commentary sometimes refers to materials I had just been reading before --[[User:Olaf Simons|Olaf Simons]])

[[Category:Handout|Excerpt]]

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-31T00:36:54Z

Robert Vehse: /* 56 */ That's how apostrophes look like. :P

==Editions==
*Pierre Daniel Huet, ''Treatise of Romances'', 1670, first English translation (1672). [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1672_huet__treatise_of_romances.pdf Oldenburg Anglistikserver]
*Pierre Daniel Huet, ''History of Romances'', 1670, translated by Stephen Lewis (1715) [http://galenet.galegroup.com/servlet/ECCO?vrsn=1.0&dd=0&locID=bis&b1=KE&srchtp=b&d1=0143100500&SU=All&c=2&ste=10&d4=0.33&stp=DateAscend&dc=tiPG&n=10&docNum=CW110602030&b0=huet&tiPG=1 ECCO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_huet__history_of_romances.pdf Oldenburg Anglistikserver]
unter diesem [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Pierre_Daniel_Huet%2C_Traitt%C3%A9_de_l%E2%80%99origine_des_romans_%281670%29&action=history link] könnt Ihr einsehen, wie der nachfolgende Text zusammengebaut wurde.

__NOTOC__

==Text of the English edition published in 1715==

==Short Title==

[ornament] THE| HISTORY| OF| ROMANCES [ornament]

==Title page==

THE| HISTORY| OF| ROMANCES.| AN| Enquiry into their ''Original'';| ''Instructions for Composing them'';| AN| Account of the most Eminent| AUTHORS;| With Characters, and Curious Observations| upon the Best Performance of that Kind.| [rule]| Written in ''Latin'' by HUETIUS;| Made ''English'' by| Mr. ''STEPHEN LEWIS.''| [rule] ——juvat integros accedere fontes,| Atque haurire. ''Lucr.''| [rule]| Rrinted for J HOOKE, at the ''Flower-de-luce'',| and T. CALDECOTT, at the ''Sun''; both against St.| ''Dunstan''’s Church in ''Fleetstreet''. 1715.

==i==

THE

PREFACE.

''THERE is not any Speculation, which affords a more agreeable Pleasure to the Mind, than that of beholding from what Obscure and Mean Beginnings, the most Polite and Entertaining Arts have''

==ii==

''risen to be the Admiration and Delight of Mankind. To pursue them up to the most abstruse Fountains, and then to view by what Steps they arise to Perfection; does not only excite an Amazement at their Increase; but an Impatient Desire of Inventing some New Subject, to be improv'd and advanc'd by Posterity.''

''The first Occasion of introducing'' ROMANCE ''into the World, was, without Dispute to mollify the Rigour of Precepts, by the Allurements of Example. Where the Mind can't be subdued into Virtue, by Reason and Philosophy; nothing can''

==iii==
''influence it more, than to present to it the Success and Felicity, which Crowns the Pursuit of what's Great and Honourable. As the'' Poet ''very elegantly alludes to'' Homer;

:Qui quid sit pulchum, quid turpe, quid utile, quid non
:Planius & melius, Chrysippo & Crantore dicit.

''And since in all Ages there were very few real Instances, fit to be proposed for Exact Patters of Imitation; the Ingenious'' Fabulist ''was forced to supply them out of his own Invention.''

==iv==
''Hence it appears, that the Original of'' Romance ''is very Ancient; since this Way of Promoting Virtue has been received in the Earliest Ages; as is evident from the first Records of Mankind. And as it stands very remote from Modern Ages; so, That is found out, must be an High Satisfaction to the Curious in Antiquity.''

''Upon this Account, They are very much indebted to the Labour and Penetration of'' Huetius; ''who has, with great Judgement, traced the Subject he undertook to Illustrate, till he found it in''

==v==
''its Infancy, involved in the Umbrage of'' Fable, ''and perplexed in the Folds of'' Mystery ''and'' Riddle.

''This Task was enjoin'd Him (He informs us)

==vi==

==vii==

And, in my Opinion, the Man who acquits himselof well of the Province he undertakes, (tho' of small Importance) deserves as much, as He who has been more Fortunate in the Choice of a Subjekt for his Application

Without doubt, Huetius was sensible of this; otherwise he would have bestowed his Time to a better Account, since He had before approv'd himself very well to the World, by his Ingenious Performances in Divinity, and other Learning. And I dare assert, that none of his Labours have contributed more to his Reputation than his

==viii==

''Especially since ''Romance'' has of late convey'd it self very far into the Esteem of this Nation, and is become the Principal Diversion of the Retirement of People of all Conditions.''

==ix==

==xi==
has; This, I presume, is not the first Case, where a Good Design has aton'd for some slight Imperfections in the Prosecution of it.

==[xii]==

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same may be apply'd to Romances, with this Restraint, that a total Fiction of the Argument is more allowable in Romances, where the Actors are of indifferent Quality, (such are the Comic) than in Heroic Performances, where Princes and Conquerors are the Characters, and where the Adventures are Memorable and Illustrious; because it can't be probable that great Transactions and Events lie hid to the World, and neglected by Historians; and Probability, which is not always observ'd in History, is essential to a Romance.
I exclude that sort of History which is False throughout the whole Narration, but was invented

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==34==
have fince explained, illustrated, and digested them in their particular Works; and beside this have composed several Poems, Prologues and Apologues. 
The ''Cyprians'' and ''Cilicians'' have invented certain Fables which bore the Name of the People of those Nations; and the particular Disposition of the ''Cilicians'' to Lying gave rise to one of the Ancientest Proverbs in ''Greece''. 
In short, Fables have been in such Vogue all over these Countries, that (according to the Testimony of ''Lucian'',) there were particular Orders of Men among the''Affyrians'' and ''Arabians'', whose fole (whole?) Province was to explain Fables; and who observed such a Regularity

==35==
==36==
Cyrus fubdued them by making Crasus his Captive, with whom he received all Asia Minor into his Subjection. The Persians upon this Success admitted their Manners with their Laws, and mixed their Debauches with those their own Inclinations fupplied them with, and so grew to be the most Voluptuous Nation in the World. They began to refine upon the Pleasures of the Table, by making the Addition of Flowers and Perfumes. They first invented the Ornaments for their houses. The finest Wools, and the richest Tapestries in the World were their Productions. They invented the lascivious Dance, call'd the Ionic; and became so remarkable for Effeminacy,

==37==
==38==
But there were the first who corrupted them, and filled them with Lascivious and Amorous Narrations. Their Works are devoured by Time: We hear of no more than ''Aristides'' of them, who was the most Famous of the Romancers, and wrote several Books of Verse, called the ''Milesian'' Fables. I find that one ''Dionyius'', a ''Milesian'', who lived under the Reign of ''Darius'' the First, composed some Fabulous Histories; but since I can't certain wether this was any more than a compiling of Ancient Fables, and can't see sufficient Reason to believe, that they could properly be called ''Milesian'' Fables; I can't number

==39==
==40==
==41==
==42==
==43==
==44==
The Original of Rofcius, took Occasion before the Senate of Selencia to insult and defame the tender and effeminate Disposition of the Romans, who in the time of War could not disengage themselves of so soft entertainments.
Lucins of Patras, Lucian of Samofata, and Jamblichus, lived very near the same Time, under the Emperors Antoninus, and Marcus Aurelius. The first of them must not be reckoned among Romancers, for he no more than collected some Metamorphoses of the Magical Transformation of Men into Beasts, and Beasts into Men; dealing very simply and fairly, since he believed all that he wrote. Lucian

'''Romances.'''

with much more Policy and Judgment, relates some part of his Works only to expose and ridicule them, in the Book which he called ''Lucius's Ass''; to intimate that the Fiction was originally his. 'Tis in Effect an Abridgment of the two first Books of ''Lucius's Metamorphosis'' ; and this Fragment lets us see, That ''Photius'' had great Reason to arraign and decry his obscene and smutty Expressions. This ingenious and celebrated Ass, whose History these Authors wrote, was extremely like another of the same Worth and Merit, which ''Photius'' speaks of from ''Damascius'' in this Manner: "This Ass, says he, was the "Best of a Grammarian named"

==45==

==46==
==47==
==48==
==49==
==50==
==51==
==52==
==53==
==54==
==55==
==56==
he had a good Opportunity to judge of, because he had the Originals before him. He takes it for a True Story, not understanding the Art of Romances. For my part, tho' I can't pronounce of it in Certainty, because I have not seen the Original in Greek; yet the Reading the Translation, inclines me to think, that he had several sufficient Grounds, to assign the Author of it to be Athenagoras the Apologist. For the Apologist was a Christian; and this speaks of Divinity, after a manner very inconsistent with any, but one of that Profession: As when he makes the priests of Ammom declare, "That there is but One" God; and that every Nation defi-

==57==
==58==
Merchants. That the Gods in the Fable, denoted the different Operations of this Sovereign, and only One Divinity, who is without Beginning, and without End: Whom he calls Obscure, and Dark, because he is Invisible, and Incomprehensible. Farther; the Discourses of the Priests and Merchants, upon the Divine Effence, very much resemble those of Athenagoras, in his Legation. The Apologist was a Priest of Athens; this was an Athenian Philosopher: Both seem Men of Sense, and Learning, and great Penetration into Antiquity.

==59==
==60==
==61==
==62==
==63==
==64==
==65==
to one Principal Action, follow the Rules of an Heroick Poem ; as ''Athenagoras'' and ''Heliodorus'' have done, tho' not so accurately : But our Old ''French'' have multiplied them without Order, Connexion, or Art. These the ''Italians'' have imitated, borrowing of them their Romances, with their Imperfections. Here we ''Giraldi'' in a worse Error than the former : He endeavours to commend this Vice, and turn it into a Virtue : Whereas, if it be true what himself asserts, that a Romance should resemble a Perfect Body , and consist of many different Parts and Proportions all under one Head ; it follows , that the Principal Action of a Romance should be

==66==
equal Beauty and Eminence, it was as impossible to digest them into one regular body, as it would be to erect a compleat structure with no materials but sand. The applause which the faulty romances of his nation have received, does yet justify him the less: We are not to judge of a performance by the number, but sufficiency of the approbators. Every one assumes to himself the license to judge of, and censure poesie and romance: The sumptuous palaces and common streets are made tribunals, where the meritsof the greatest works receive a supreme decision. There every one shoots his bolt, and boldly prefumes to fet an estimate of

==67==

==68==
==69==
==70==
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==72==
==73==
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==75==
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==88==
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==90==
==91==
==92==
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==94==
==95==
what very Few understand)is yet much easier to be understood,than practised well.Some say,the Poet ''Lucan'' (who also lived in the Reign of ''Nero'') composed ''Saltic'' Fables; wherein(some think) wererecounted the Intrigous of ''Satyrs'' and ''Nymphs''. This agree well with a Romance, and the Wit of that Age, which was very much inclined to the Amusements of that Art. But since there is nothing left us of it but the title, and that does not clearly express the Nature of the Work; it shall say nothing of it.
The ''Metamorphosis'' of ''Apnleins'',so well known by the Name of the Golden Ass, was com-

==96==
==97==
==98==
==99==
is attended by them) espouses Philology (which is the Love od Good Letters) he gives her whatever is Excellent in them, for a Nuptial Present: So that it is a continued Allegory, which properly does not deserve the Name of Romance, but rather that of a Fable. For, as I have already observed, a Fable represents Things which never have, or ever can happen; and a Romance takes notice of Things which may, but never have happen'd. The Artifice of this Allegory is not very subtle; he Style is Barbarism it self; so bold and extravagant in its Figures, that they are unpardonable in the most Desperate Poet. Tis disguised with so great an

==100==
==101==

==102==
==103==
==104==
==105==
==106==
==107==
==108==
==109==
==110==
maintain the Antiquity of these Writers, tho' I have great Authority to do it, because the common and received Opinion would support me. 'Tis certain that the ''Arabians'' were extremely addicted, as I have made appear, to the ''Gay Science'', I mean, Poesy, Fable, and Fiction. This Science was preserv'd in its Primitive Rudeness by them, till it was cultivated and improved by the ''Greeks''. They brought it along with their Arms into ''Africa'', when they subdued it; tho' it had before flourished in that Country: For ''Aristotle'', and after him ''Priscian'', make mention of the ''Libyc'' Fables; and the Romances of ''Apuleius'' and ''Martianns Capella'', both

==111==
==112==
==113==
==114==
==115==
to be the first Romance of Chivalry which was printed in ''Spain'', and the Model, and Best of all the other.
''Palmerin'' of ''England'', which some believe was composed by a King of ''Portugal'', met with an Easy Sentence, to be put in a Box like that of ''Darius'', wherein ''Alexander'' kept the Works of ''Homer''. Don ''Belianis'', the Mirror of Chilvalry, ''Tirante'' the ''White'', and ''Kyrie'' ''Eleison'' of ''Montauban''; (for in those Good Old Times it was believed, that ''Kyrie Eleison'', and ''Paralipomenon'', were the Names of some Saints) where the Subtleties of Madam ''Pleasure-of-my-Life'', and the Love and Intrigues of the Widow ''Reposada'', are highly

==116==
==117==
==118==
==119==
==120==
==121==
==122==

with Herbs and Roots; so when the Knowledge of Truth, which is the Proper and Natural Aliment of the Mind, begins to fail, we have Recourse to Falshood, which is the Imitation of Truth. As in Plenty we refuse Bread, and our ordinary Viands, for Ragousts; so our Minds, when acquainted with the Truth, forsake the Study and Speculation of it, to be entertained with its Image, which is Fiction. This Imitation, according to Aristotle, is often more agreeable than the Original itself; so that two oppositely different Paths, which are Ignorance and Learning, Rudeness and Politness, do often conduct uss to the same End; which is, an

==123==
==124==
==125==
have recourse to what's past, and to come, in Truth and in Fiction, in Imaginary Spaces and Impossibilities, For Objects to exert it sels upon. The Objects of sense fill the Desires of the Soul of Brutes, who have no farther Concern; so that we can't discover in them these restless Emotions, which continually actuate the Mind of Man, and carry it into the Pursuit of a recent Information, to proportion (if possible) the Object to the Faculty; and enjoy a Pleasure, resembling that which we perceive in the Applealing a Violent Hunger, and Extinguishing a Corroding Thirst. This is that which ''Plato'' intends, in the Marriage of Dorus

==126==
==127==
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==136==
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==145==
Monsieur D'Vrfee was the first who retrieved them from Barbarity, and reduced them to Rules, in his Incomparable Afirea, The most Ingenious and Polite Work which has appeared in this Kind, and which Eclipsed the Glory which Greece, Italy and Spain, had acquired.
However, he has not discouraged those who come after him, to undertake what he has performed. He has not so far engroffed the Public Admiration, but that some are still left for the many Excellent Romances wgich displayed themselves in France since His

==146==
itself against Scrupulous Censures, not only by the Commendations which the Patriarch Photius gives it, but by the great Examples of those who have applied themselves to it, might justify itself by Her's: That that which has been improved by Philosophers, as Apuleis, and Athenagoras; by a Roman Prator, as Sisenna; by a Consul, as Petronius; by a Pretender to the Empire, as Clodius Albinus; by a Priest, as Theodorus Prodromus; by Bishops, as Heliodorus, and Achilles Tatius; by a Pope, as Pius Secundus, who wrote the Loves of Euryalus and Lucretia; by a Saint, as John Damascenus; might have the Honour

==147==

==148==
==149==

[[Category:17th century|1670]]
[[Category:1670s|1670]]
[[Category:By author|Huet, Pierre Daniel]]

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-31T00:36:17Z

Robert Vehse: /* 56 */

==Editions==
*Pierre Daniel Huet, ''Treatise of Romances'', 1670, first English translation (1672). [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1672_huet__treatise_of_romances.pdf Oldenburg Anglistikserver]
*Pierre Daniel Huet, ''History of Romances'', 1670, translated by Stephen Lewis (1715) [http://galenet.galegroup.com/servlet/ECCO?vrsn=1.0&dd=0&locID=bis&b1=KE&srchtp=b&d1=0143100500&SU=All&c=2&ste=10&d4=0.33&stp=DateAscend&dc=tiPG&n=10&docNum=CW110602030&b0=huet&tiPG=1 ECCO] [http://www.uni-oldenburg.de/anglistik/lit-wiss/intro-to-literature/d/1715_huet__history_of_romances.pdf Oldenburg Anglistikserver]
unter diesem [http://www.wiki.uni-oldenburg.de/fk3/angl-am/index.php?title=Pierre_Daniel_Huet%2C_Traitt%C3%A9_de_l%E2%80%99origine_des_romans_%281670%29&action=history link] könnt Ihr einsehen, wie der nachfolgende Text zusammengebaut wurde.

__NOTOC__

==Text of the English edition published in 1715==

==Short Title==

[ornament] THE| HISTORY| OF| ROMANCES [ornament]

==Title page==

THE| HISTORY| OF| ROMANCES.| AN| Enquiry into their ''Original'';| ''Instructions for Composing them'';| AN| Account of the most Eminent| AUTHORS;| With Characters, and Curious Observations| upon the Best Performance of that Kind.| [rule]| Written in ''Latin'' by HUETIUS;| Made ''English'' by| Mr. ''STEPHEN LEWIS.''| [rule] ——juvat integros accedere fontes,| Atque haurire. ''Lucr.''| [rule]| Rrinted for J HOOKE, at the ''Flower-de-luce'',| and T. CALDECOTT, at the ''Sun''; both against St.| ''Dunstan''’s Church in ''Fleetstreet''. 1715.

==i==

THE

PREFACE.

''THERE is not any Speculation, which affords a more agreeable Pleasure to the Mind, than that of beholding from what Obscure and Mean Beginnings, the most Polite and Entertaining Arts have''

==ii==

''risen to be the Admiration and Delight of Mankind. To pursue them up to the most abstruse Fountains, and then to view by what Steps they arise to Perfection; does not only excite an Amazement at their Increase; but an Impatient Desire of Inventing some New Subject, to be improv'd and advanc'd by Posterity.''

''The first Occasion of introducing'' ROMANCE ''into the World, was, without Dispute to mollify the Rigour of Precepts, by the Allurements of Example. Where the Mind can't be subdued into Virtue, by Reason and Philosophy; nothing can''

==iii==
''influence it more, than to present to it the Success and Felicity, which Crowns the Pursuit of what's Great and Honourable. As the'' Poet ''very elegantly alludes to'' Homer;

:Qui quid sit pulchum, quid turpe, quid utile, quid non
:Planius & melius, Chrysippo & Crantore dicit.

''And since in all Ages there were very few real Instances, fit to be proposed for Exact Patters of Imitation; the Ingenious'' Fabulist ''was forced to supply them out of his own Invention.''

==iv==
''Hence it appears, that the Original of'' Romance ''is very Ancient; since this Way of Promoting Virtue has been received in the Earliest Ages; as is evident from the first Records of Mankind. And as it stands very remote from Modern Ages; so, That is found out, must be an High Satisfaction to the Curious in Antiquity.''

''Upon this Account, They are very much indebted to the Labour and Penetration of'' Huetius; ''who has, with great Judgement, traced the Subject he undertook to Illustrate, till he found it in''

==v==
''its Infancy, involved in the Umbrage of'' Fable, ''and perplexed in the Folds of'' Mystery ''and'' Riddle.

''This Task was enjoin'd Him (He informs us)

==vi==

==vii==

And, in my Opinion, the Man who acquits himselof well of the Province he undertakes, (tho' of small Importance) deserves as much, as He who has been more Fortunate in the Choice of a Subjekt for his Application

Without doubt, Huetius was sensible of this; otherwise he would have bestowed his Time to a better Account, since He had before approv'd himself very well to the World, by his Ingenious Performances in Divinity, and other Learning. And I dare assert, that none of his Labours have contributed more to his Reputation than his

==viii==

''Especially since ''Romance'' has of late convey'd it self very far into the Esteem of this Nation, and is become the Principal Diversion of the Retirement of People of all Conditions.''

==ix==

==xi==
has; This, I presume, is not the first Case, where a Good Design has aton'd for some slight Imperfections in the Prosecution of it.

==[xii]==

==1==
==2==
==3==
==4==
==5==
==6==
==7==
==8==
==9==
==10==
==11==
same may be apply'd to Romances, with this Restraint, that a total Fiction of the Argument is more allowable in Romances, where the Actors are of indifferent Quality, (such are the Comic) than in Heroic Performances, where Princes and Conquerors are the Characters, and where the Adventures are Memorable and Illustrious; because it can't be probable that great Transactions and Events lie hid to the World, and neglected by Historians; and Probability, which is not always observ'd in History, is essential to a Romance.
I exclude that sort of History which is False throughout the whole Narration, but was invented

==12==
==13==
==14==
==15==
==16==
==17==
==18==
==19==
==20==
==21==
==22==
==23==
==24==
==25==
==26==
==27==
==28==
==29==
==30==
==31==
==32==
==33==
==34==
have fince explained, illustrated, and digested them in their particular Works; and beside this have composed several Poems, Prologues and Apologues. 
The ''Cyprians'' and ''Cilicians'' have invented certain Fables which bore the Name of the People of those Nations; and the particular Disposition of the ''Cilicians'' to Lying gave rise to one of the Ancientest Proverbs in ''Greece''. 
In short, Fables have been in such Vogue all over these Countries, that (according to the Testimony of ''Lucian'',) there were particular Orders of Men among the''Affyrians'' and ''Arabians'', whose fole (whole?) Province was to explain Fables; and who observed such a Regularity

==35==
==36==
Cyrus fubdued them by making Crasus his Captive, with whom he received all Asia Minor into his Subjection. The Persians upon this Success admitted their Manners with their Laws, and mixed their Debauches with those their own Inclinations fupplied them with, and so grew to be the most Voluptuous Nation in the World. They began to refine upon the Pleasures of the Table, by making the Addition of Flowers and Perfumes. They first invented the Ornaments for their houses. The finest Wools, and the richest Tapestries in the World were their Productions. They invented the lascivious Dance, call'd the Ionic; and became so remarkable for Effeminacy,

==37==
==38==
But there were the first who corrupted them, and filled them with Lascivious and Amorous Narrations. Their Works are devoured by Time: We hear of no more than ''Aristides'' of them, who was the most Famous of the Romancers, and wrote several Books of Verse, called the ''Milesian'' Fables. I find that one ''Dionyius'', a ''Milesian'', who lived under the Reign of ''Darius'' the First, composed some Fabulous Histories; but since I can't certain wether this was any more than a compiling of Ancient Fables, and can't see sufficient Reason to believe, that they could properly be called ''Milesian'' Fables; I can't number

==39==
==40==
==41==
==42==
==43==
==44==
The Original of Rofcius, took Occasion before the Senate of Selencia to insult and defame the tender and effeminate Disposition of the Romans, who in the time of War could not disengage themselves of so soft entertainments.
Lucins of Patras, Lucian of Samofata, and Jamblichus, lived very near the same Time, under the Emperors Antoninus, and Marcus Aurelius. The first of them must not be reckoned among Romancers, for he no more than collected some Metamorphoses of the Magical Transformation of Men into Beasts, and Beasts into Men; dealing very simply and fairly, since he believed all that he wrote. Lucian

'''Romances.'''

with much more Policy and Judgment, relates some part of his Works only to expose and ridicule them, in the Book which he called ''Lucius's Ass''; to intimate that the Fiction was originally his. 'Tis in Effect an Abridgment of the two first Books of ''Lucius's Metamorphosis'' ; and this Fragment lets us see, That ''Photius'' had great Reason to arraign and decry his obscene and smutty Expressions. This ingenious and celebrated Ass, whose History these Authors wrote, was extremely like another of the same Worth and Merit, which ''Photius'' speaks of from ''Damascius'' in this Manner: "This Ass, says he, was the "Best of a Grammarian named"

==45==

==46==
==47==
==48==
==49==
==50==
==51==
==52==
==53==
==54==
==55==
==56==
he had a good Opportunity to judge of, because he had the Originals before him. He takes it for a True Story, not understanding the Art of Romances. For my part, tho`I can`t pronounce of it in Certainty, because I have not seen the Original in Greek; yet the Reading the Translation, inclines me to think, that he had several sufficient Grounds, to assign the Author of it to be Athenagoras the Apologist. For the Apologist was a Christian; and this speaks of Divinity, after a manner very inconsistent with any, but one of that Profession: As when he makes the priests of Ammom declare, "That there is but One" God; and that every Nation defi-

==57==
==58==
Merchants. That the Gods in the Fable, denoted the different Operations of this Sovereign, and only One Divinity, who is without Beginning, and without End: Whom he calls Obscure, and Dark, because he is Invisible, and Incomprehensible. Farther; the Discourses of the Priests and Merchants, upon the Divine Effence, very much resemble those of Athenagoras, in his Legation. The Apologist was a Priest of Athens; this was an Athenian Philosopher: Both seem Men of Sense, and Learning, and great Penetration into Antiquity.

==59==
==60==
==61==
==62==
==63==
==64==
==65==
to one Principal Action, follow the Rules of an Heroick Poem ; as ''Athenagoras'' and ''Heliodorus'' have done, tho' not so accurately : But our Old ''French'' have multiplied them without Order, Connexion, or Art. These the ''Italians'' have imitated, borrowing of them their Romances, with their Imperfections. Here we ''Giraldi'' in a worse Error than the former : He endeavours to commend this Vice, and turn it into a Virtue : Whereas, if it be true what himself asserts, that a Romance should resemble a Perfect Body , and consist of many different Parts and Proportions all under one Head ; it follows , that the Principal Action of a Romance should be

==66==
equal Beauty and Eminence, it was as impossible to digest them into one regular body, as it would be to erect a compleat structure with no materials but sand. The applause which the faulty romances of his nation have received, does yet justify him the less: We are not to judge of a performance by the number, but sufficiency of the approbators. Every one assumes to himself the license to judge of, and censure poesie and romance: The sumptuous palaces and common streets are made tribunals, where the meritsof the greatest works receive a supreme decision. There every one shoots his bolt, and boldly prefumes to fet an estimate of

==67==

==68==
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what very Few understand)is yet much easier to be understood,than practised well.Some say,the Poet ''Lucan'' (who also lived in the Reign of ''Nero'') composed ''Saltic'' Fables; wherein(some think) wererecounted the Intrigous of ''Satyrs'' and ''Nymphs''. This agree well with a Romance, and the Wit of that Age, which was very much inclined to the Amusements of that Art. But since there is nothing left us of it but the title, and that does not clearly express the Nature of the Work; it shall say nothing of it.
The ''Metamorphosis'' of ''Apnleins'',so well known by the Name of the Golden Ass, was com-

==96==
==97==
==98==
==99==
is attended by them) espouses Philology (which is the Love od Good Letters) he gives her whatever is Excellent in them, for a Nuptial Present: So that it is a continued Allegory, which properly does not deserve the Name of Romance, but rather that of a Fable. For, as I have already observed, a Fable represents Things which never have, or ever can happen; and a Romance takes notice of Things which may, but never have happen'd. The Artifice of this Allegory is not very subtle; he Style is Barbarism it self; so bold and extravagant in its Figures, that they are unpardonable in the most Desperate Poet. Tis disguised with so great an

==100==
==101==

==102==
==103==
==104==
==105==
==106==
==107==
==108==
==109==
==110==
maintain the Antiquity of these Writers, tho' I have great Authority to do it, because the common and received Opinion would support me. 'Tis certain that the ''Arabians'' were extremely addicted, as I have made appear, to the ''Gay Science'', I mean, Poesy, Fable, and Fiction. This Science was preserv'd in its Primitive Rudeness by them, till it was cultivated and improved by the ''Greeks''. They brought it along with their Arms into ''Africa'', when they subdued it; tho' it had before flourished in that Country: For ''Aristotle'', and after him ''Priscian'', make mention of the ''Libyc'' Fables; and the Romances of ''Apuleius'' and ''Martianns Capella'', both

==111==
==112==
==113==
==114==
==115==
to be the first Romance of Chivalry which was printed in ''Spain'', and the Model, and Best of all the other.
''Palmerin'' of ''England'', which some believe was composed by a King of ''Portugal'', met with an Easy Sentence, to be put in a Box like that of ''Darius'', wherein ''Alexander'' kept the Works of ''Homer''. Don ''Belianis'', the Mirror of Chilvalry, ''Tirante'' the ''White'', and ''Kyrie'' ''Eleison'' of ''Montauban''; (for in those Good Old Times it was believed, that ''Kyrie Eleison'', and ''Paralipomenon'', were the Names of some Saints) where the Subtleties of Madam ''Pleasure-of-my-Life'', and the Love and Intrigues of the Widow ''Reposada'', are highly

==116==
==117==
==118==
==119==
==120==
==121==
==122==

with Herbs and Roots; so when the Knowledge of Truth, which is the Proper and Natural Aliment of the Mind, begins to fail, we have Recourse to Falshood, which is the Imitation of Truth. As in Plenty we refuse Bread, and our ordinary Viands, for Ragousts; so our Minds, when acquainted with the Truth, forsake the Study and Speculation of it, to be entertained with its Image, which is Fiction. This Imitation, according to Aristotle, is often more agreeable than the Original itself; so that two oppositely different Paths, which are Ignorance and Learning, Rudeness and Politness, do often conduct uss to the same End; which is, an

==123==
==124==
==125==
have recourse to what's past, and to come, in Truth and in Fiction, in Imaginary Spaces and Impossibilities, For Objects to exert it sels upon. The Objects of sense fill the Desires of the Soul of Brutes, who have no farther Concern; so that we can't discover in them these restless Emotions, which continually actuate the Mind of Man, and carry it into the Pursuit of a recent Information, to proportion (if possible) the Object to the Faculty; and enjoy a Pleasure, resembling that which we perceive in the Applealing a Violent Hunger, and Extinguishing a Corroding Thirst. This is that which ''Plato'' intends, in the Marriage of Dorus

==126==
==127==
==128==
==129==
==130==
==131==
==132==
==133==
==134==
==135==
==136==
==137==
==138==
==139==
==140==
==141==
==142==
==143==
==144==
==145==
Monsieur D'Vrfee was the first who retrieved them from Barbarity, and reduced them to Rules, in his Incomparable Afirea, The most Ingenious and Polite Work which has appeared in this Kind, and which Eclipsed the Glory which Greece, Italy and Spain, had acquired.
However, he has not discouraged those who come after him, to undertake what he has performed. He has not so far engroffed the Public Admiration, but that some are still left for the many Excellent Romances wgich displayed themselves in France since His

==146==
itself against Scrupulous Censures, not only by the Commendations which the Patriarch Photius gives it, but by the great Examples of those who have applied themselves to it, might justify itself by Her's: That that which has been improved by Philosophers, as Apuleis, and Athenagoras; by a Roman Prator, as Sisenna; by a Consul, as Petronius; by a Pretender to the Empire, as Clodius Albinus; by a Priest, as Theodorus Prodromus; by Bishops, as Heliodorus, and Achilles Tatius; by a Pope, as Pius Secundus, who wrote the Loves of Euryalus and Lucretia; by a Saint, as John Damascenus; might have the Honour

==147==

==148==
==149==

[[Category:17th century|1670]]
[[Category:1670s|1670]]
[[Category:By author|Huet, Pierre Daniel]]

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-30T17:34:14Z

Robert Vehse: /* 146 */

User talk:Olaf Simons

2007-10-30T17:32:29Z

Robert Vehse: /* Huet im Wiki */

[[User talk:Olaf Simons/Archive]]

==Novel or Novella==
Moin Olaf. Beim diesjährigen Booker Prize kam die Streitfrage auf, ob Ian McEwan's ''Chesil Beach'' als novel oder novella einzustufen sei. Könnte für Dein Nachdenken über den Roman von Interesse sei. [http://www.ft.com/cms/s/a1e578b6-4549-11dc-82f5-0000779fd2ac.html Financial Times article]. GLG, [[User:Anna Auguscik|Anna Auguscik]] 08:29, 13 August 2007 (CEST)
:Typisch. Auf der englischen Wikipedia lösche ich immer die Mengenangaben weg, die manche dort absetzen - hat die Novel mindestens 20.00 Worte, oder sollte sie nicht eher 60.000 haben, oder was da für Fragen herumfliegen. Das witzige ist, daß es die Inversion der Debatte des frühen 18. ist. Da sagte man, wenn das Ding über 300 Seiten hat, dann kann man es doch nicht mehr als novel einstufen - dann ist es doch schon mindestens eine Romance... Ich sehe aber, daß beim Preis, der an Romane geht die Sache heikel wird, nicht daß da jemand mit einer lumpigen Kurzgeschichte ankommt und den Preis mal eben abräumt. Gruß nach München, dieweil ich hier versauern muß (nein gar so schlimm ist's nicht, alldieweil ja die Sonne scheint), --[[User:Olaf Simons|Olaf Simons]] 10:41, 13 August 2007 (CEST)

==Online Bibliothek im Wiki-Format==
Guckst Du auf [http://www.zeit.de/online/2007/33/open-library Zeit.de]

== Bastelarbeit ==

Seit ca. 10 Minuten verfolge ich praktisch live über recent changes mit, wie Du fleißig wie ein Honigbienchen am Star Trek Artikel bastelst - sehr lustig : ) Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 18:12, 27 August 2007 (CEST)
:Ah, nun sollte ich aber damit aufhören! Tatsache, ich bin wieder zurück. Habe 400 Mails vernichtet (und 20 in verschiedene Ordner verschoben) und endlich begonnen, genauer zu planen, was ich da machen werde. Die Tröten aus dem Seminar sollten ihre Nasen darein stecken und mich beraten (statt zu meckern, wenn es zu spät ist). Danke für die e-mail Feriengrüße, die im Ordner privat landeten. --[[User:Olaf Simons|Olaf Simons]] 18:19, 27 August 2007 (CEST)
:: Na, da hat der Vorsatz aber lange gehalten! Das mit den Tröten ignoriere ich mal und mache einen Vorschlag: Wie wär es denn mal, die Vorstellungen aus den End-70er und Früh-80er Jahren bezüglich des 23. Jahrhunderts zu analysieren?! Habe am Wochenende die alten Filme mit Kirk gesehen (und mich dabei halb totgelacht - erstaunlich, was man glaubte mit Pappe und ein paar bunten Kabeln für Illusionen schaffen zu können). Bestimmte Moden, Normen, Werte etc. finden sich da auch als eine Art Retro-Look, denke ich (z.B. Frisuren, als simples Beispiel). [[User:Verena Engelhardt|Verena Engelhardt]] 18:46, 27 August 2007 (CEST)
:::Schwierige Sache - das mit den Vorstellungen von der Zukunft. Zum Teil geht es wohl eben darum. Zum anderen Teil gewinnt das gebaute Universum Eigendynamik: Die können 1980 das Jahr 2300 nicht mehr neuerfinden, da sie an die Ideen des Jahres 1967 gebunden sind und sich nicht in ihrem eigenen fiktiven Universum widersprechen dürfen. Vielleicht ist es eben darum besser, das schlicht als fiktive Welt zu betrachten - und grundsätzlich die Frage der Zukunft im Kopf zu haben. Es ist merkwürdig, wenn ich sie für eine Sitzung besonders stelle. Ich weiß noch nicht ganz. Will Deinen Gedanken mal etwas im Kopf herum wägen. Jetzt aber raus! --[[User:Olaf Simons|Olaf Simons]] 18:52, 27 August 2007 (CEST)
:::Etwas ganz anderes vergaß ich: Einen Vergleich mit anderen SF-Serien wie der deutschen Orion...
:::: Mmh, ich denke meistens an die Filme, nicht an die Serie. Zwischen ihr und den Filmen liegen 20 Jahre, die fiktive Welt darin hat sich auch in der Zeit weiterentwickelt. Kirk und Co. sind 20 Jahre älter, die Technologie entwickelte sich ebenfalls. Das ließ mehr Spielraum für Neues. Die Serie dürfte da aber auch interessant sein (ich muss das selber noch mehr durchdenken). Und Orion - ist wohl ein Fall für sich. Wäre aber für einen Vergleich sehr gut geeignen. Schönen Abend, [[User:Verena Engelhardt|Verena Engelhardt]] 19:10, 27 August 2007 (CEST)
...um den Gedanken einmal zu Ende zu führen. Die Frage nach den Vorstellungen der Zukunft: Ich habe mich, glaub' ich, zu sehr an Kubricks "2001:Odysee im Weltraum" gehalten - der Film ist von 1968 und Kubrick hat in ihm viele Parallelen zur Gegenwart mit einfließen lassen (Mode, Normen usw.). Der erste Star Trek Film von 1979 zeigt - meiner Meinung nach - Ähnlichkeiten (V-gar vs. HAL 9000 und dieses "Menschlich-Werden von Technologie"), und ich fragte mich, ob man diese Parallelen auch in Star Trek findet. Ich denke aber, dass Dein Argument richtig ist, dass es a) seltsam wäre, danach speziell zu fragen und b) generell im Star Trek Universum zu finden ist. Daher verwerfe ich den Gedanken und amüsiere mich einfach weiter beim Sehen der 80er Jahre Filme : ) Liebe Grüße, [[User:Verena Engelhardt|Verena Engelhardt]] 19:06, 21 September 2007 (CEST)

==Economy discovers wiki==
[http://books.guardian.co.uk/reviews/computingandthenet/0,,2174234,00.html Guardian article] about a book which looks into the question of how economy is restructured due to collective use of websites

:Bastards. --[[User:Olaf Simons|Olaf Simons]] 12:03, 22 September 2007 (CEST)

== Karambolage erklärt Belletristik ==

...hoffe, das Link funktioniert wie gewollt: http://plus7.arte.tv/de/detailPage/1697660,CmC=1715722,scheduleId=1711380.html Arte zeigte gestern einen lustigen Betrag zum Thema. Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 16:48, 29 October 2007 (CET)
:Klickte kurz hinein, und sah dt. und frz. Grabsteine - während ich ganz dringend Hobbes lesen muß. Sollte mich nicht so leicht ablenken lassen! --[[User:Olaf Simons|Olaf Simons]] 16:54, 29 October 2007 (CET)
::Nach den Grabsteinen - die Sendung geht 10 Minuten lang, und so in der Mitte ungefähr kommt der Beitrag. Sollst Dich auch nicht ablenken lassen, brav Hobbes lesen und gucken wenn Du Zeit hast, [[User:Verena Engelhardt|Verena Engelhardt]] 17:24, 29 October 2007 (CET)

----

Wahrscheinlich bist du so neidisch auf meine Page, daß sie morgen schon wieder geändert ist - Konformität für alle! ;-)
Du bist doch begnadeter Hobbyknipser, da ließe sich doch bestimmt auch für ''deine'' Page ein hübsches Bildchen finden... Cheerio, [[User:Melanie Tönies|Melanie Tönies]] 17:53, 29 October 2007 (CET)

A propos Hobbyknisper, kennst du schon die [http://www.fotocommunity.de Fotocommunity]? Gruß aus dem FS-Büro, [[User:Melanie Tönies|Melanie Tönies]] 17:59, 29 October 2007 (CET)

Danke.

==Huet im Wiki==
Ich sehe jetzt zum zweiten Mal, dass die Seitenzahlen gelöscht werden. Ist das so gedacht?

:Hm - niemand muß die Seitenzahlen löschen (hier das [[Pierre Daniel Huet, Traitté de l’origine des romans (1670)|Link]]) - man kann die Überschrift anklicken und unter die Seitenzahl schreiben - auch kann man sie nachher wiederherstellen... alles irgendwie machbar. Gruß --[[User:Olaf Simons|Olaf Simons]] 18:27, 30 October 2007 (CET)

Alles klar.

User talk:Olaf Simons

2007-10-30T16:51:30Z

Robert Vehse:

[[User talk:Olaf Simons/Archive]]

==Novel or Novella==
Moin Olaf. Beim diesjährigen Booker Prize kam die Streitfrage auf, ob Ian McEwan's ''Chesil Beach'' als novel oder novella einzustufen sei. Könnte für Dein Nachdenken über den Roman von Interesse sei. [http://www.ft.com/cms/s/a1e578b6-4549-11dc-82f5-0000779fd2ac.html Financial Times article]. GLG, [[User:Anna Auguscik|Anna Auguscik]] 08:29, 13 August 2007 (CEST)
:Typisch. Auf der englischen Wikipedia lösche ich immer die Mengenangaben weg, die manche dort absetzen - hat die Novel mindestens 20.00 Worte, oder sollte sie nicht eher 60.000 haben, oder was da für Fragen herumfliegen. Das witzige ist, daß es die Inversion der Debatte des frühen 18. ist. Da sagte man, wenn das Ding über 300 Seiten hat, dann kann man es doch nicht mehr als novel einstufen - dann ist es doch schon mindestens eine Romance... Ich sehe aber, daß beim Preis, der an Romane geht die Sache heikel wird, nicht daß da jemand mit einer lumpigen Kurzgeschichte ankommt und den Preis mal eben abräumt. Gruß nach München, dieweil ich hier versauern muß (nein gar so schlimm ist's nicht, alldieweil ja die Sonne scheint), --[[User:Olaf Simons|Olaf Simons]] 10:41, 13 August 2007 (CEST)

==Online Bibliothek im Wiki-Format==
Guckst Du auf [http://www.zeit.de/online/2007/33/open-library Zeit.de]

== Bastelarbeit ==

Seit ca. 10 Minuten verfolge ich praktisch live über recent changes mit, wie Du fleißig wie ein Honigbienchen am Star Trek Artikel bastelst - sehr lustig : ) Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 18:12, 27 August 2007 (CEST)
:Ah, nun sollte ich aber damit aufhören! Tatsache, ich bin wieder zurück. Habe 400 Mails vernichtet (und 20 in verschiedene Ordner verschoben) und endlich begonnen, genauer zu planen, was ich da machen werde. Die Tröten aus dem Seminar sollten ihre Nasen darein stecken und mich beraten (statt zu meckern, wenn es zu spät ist). Danke für die e-mail Feriengrüße, die im Ordner privat landeten. --[[User:Olaf Simons|Olaf Simons]] 18:19, 27 August 2007 (CEST)
:: Na, da hat der Vorsatz aber lange gehalten! Das mit den Tröten ignoriere ich mal und mache einen Vorschlag: Wie wär es denn mal, die Vorstellungen aus den End-70er und Früh-80er Jahren bezüglich des 23. Jahrhunderts zu analysieren?! Habe am Wochenende die alten Filme mit Kirk gesehen (und mich dabei halb totgelacht - erstaunlich, was man glaubte mit Pappe und ein paar bunten Kabeln für Illusionen schaffen zu können). Bestimmte Moden, Normen, Werte etc. finden sich da auch als eine Art Retro-Look, denke ich (z.B. Frisuren, als simples Beispiel). [[User:Verena Engelhardt|Verena Engelhardt]] 18:46, 27 August 2007 (CEST)
:::Schwierige Sache - das mit den Vorstellungen von der Zukunft. Zum Teil geht es wohl eben darum. Zum anderen Teil gewinnt das gebaute Universum Eigendynamik: Die können 1980 das Jahr 2300 nicht mehr neuerfinden, da sie an die Ideen des Jahres 1967 gebunden sind und sich nicht in ihrem eigenen fiktiven Universum widersprechen dürfen. Vielleicht ist es eben darum besser, das schlicht als fiktive Welt zu betrachten - und grundsätzlich die Frage der Zukunft im Kopf zu haben. Es ist merkwürdig, wenn ich sie für eine Sitzung besonders stelle. Ich weiß noch nicht ganz. Will Deinen Gedanken mal etwas im Kopf herum wägen. Jetzt aber raus! --[[User:Olaf Simons|Olaf Simons]] 18:52, 27 August 2007 (CEST)
:::Etwas ganz anderes vergaß ich: Einen Vergleich mit anderen SF-Serien wie der deutschen Orion...
:::: Mmh, ich denke meistens an die Filme, nicht an die Serie. Zwischen ihr und den Filmen liegen 20 Jahre, die fiktive Welt darin hat sich auch in der Zeit weiterentwickelt. Kirk und Co. sind 20 Jahre älter, die Technologie entwickelte sich ebenfalls. Das ließ mehr Spielraum für Neues. Die Serie dürfte da aber auch interessant sein (ich muss das selber noch mehr durchdenken). Und Orion - ist wohl ein Fall für sich. Wäre aber für einen Vergleich sehr gut geeignen. Schönen Abend, [[User:Verena Engelhardt|Verena Engelhardt]] 19:10, 27 August 2007 (CEST)
...um den Gedanken einmal zu Ende zu führen. Die Frage nach den Vorstellungen der Zukunft: Ich habe mich, glaub' ich, zu sehr an Kubricks "2001:Odysee im Weltraum" gehalten - der Film ist von 1968 und Kubrick hat in ihm viele Parallelen zur Gegenwart mit einfließen lassen (Mode, Normen usw.). Der erste Star Trek Film von 1979 zeigt - meiner Meinung nach - Ähnlichkeiten (V-gar vs. HAL 9000 und dieses "Menschlich-Werden von Technologie"), und ich fragte mich, ob man diese Parallelen auch in Star Trek findet. Ich denke aber, dass Dein Argument richtig ist, dass es a) seltsam wäre, danach speziell zu fragen und b) generell im Star Trek Universum zu finden ist. Daher verwerfe ich den Gedanken und amüsiere mich einfach weiter beim Sehen der 80er Jahre Filme : ) Liebe Grüße, [[User:Verena Engelhardt|Verena Engelhardt]] 19:06, 21 September 2007 (CEST)

==Economy discovers wiki==
[http://books.guardian.co.uk/reviews/computingandthenet/0,,2174234,00.html Guardian article] about a book which looks into the question of how economy is restructured due to collective use of websites

:Bastards. --[[User:Olaf Simons|Olaf Simons]] 12:03, 22 September 2007 (CEST)

== Karambolage erklärt Belletristik ==

...hoffe, das Link funktioniert wie gewollt: http://plus7.arte.tv/de/detailPage/1697660,CmC=1715722,scheduleId=1711380.html Arte zeigte gestern einen lustigen Betrag zum Thema. Gruß, [[User:Verena Engelhardt|Verena Engelhardt]] 16:48, 29 October 2007 (CET)
:Klickte kurz hinein, und sah dt. und frz. Grabsteine - während ich ganz dringend Hobbes lesen muß. Sollte mich nicht so leicht ablenken lassen! --[[User:Olaf Simons|Olaf Simons]] 16:54, 29 October 2007 (CET)
::Nach den Grabsteinen - die Sendung geht 10 Minuten lang, und so in der Mitte ungefähr kommt der Beitrag. Sollst Dich auch nicht ablenken lassen, brav Hobbes lesen und gucken wenn Du Zeit hast, [[User:Verena Engelhardt|Verena Engelhardt]] 17:24, 29 October 2007 (CET)

----

Wahrscheinlich bist du so neidisch auf meine Page, daß sie morgen schon wieder geändert ist - Konformität für alle! ;-)
Du bist doch begnadeter Hobbyknipser, da ließe sich doch bestimmt auch für ''deine'' Page ein hübsches Bildchen finden... Cheerio, [[User:Melanie Tönies|Melanie Tönies]] 17:53, 29 October 2007 (CET)

A propos Hobbyknisper, kennst du schon die [http://www.fotocommunity.de Fotocommunity]? Gruß aus dem FS-Büro, [[User:Melanie Tönies|Melanie Tönies]] 17:59, 29 October 2007 (CET)

Danke.
Ich sehe jetzt zum zweiten Mal, dass die Seitenzahlen gelöscht werden. Ist das so gedacht?

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-30T16:26:47Z

Robert Vehse: /* 44 */

User:Robert Vehse

2007-10-30T16:14:30Z

Robert Vehse:

I rock.

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-30T16:08:51Z

Robert Vehse: /* 65 */

Pierre Daniel Huet, Traitté de l’origine des romans (1670)

2007-10-30T16:07:31Z

Robert Vehse: /* 65 */ I left everything how it was, "ancient" orthography, spaces and all