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Studying Poetry |
Studying Narrative |
Studying Drama and Theatre |
Studying Film and Video |
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| English Studies BiblioGuide UV | Links to Digital libraries and archives | Access journals | Evaluating sources Purdue OWL | JSTOR Understanding series
Catàlegs / Catalogues - Biblioteques / Libraries
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Texts - Digital Libraries and Archives
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Databases and corpora
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Glossary | ICT applied to language and literature: an introduction |
| Literary Devices | Glossary of Literary Theory (U Toronto) | UVic Literary and Rhetorical Terms | Poetry Foundation glossary | Dictionary History of Ideas |
Keywords (Raymond Williams) | Key concepts (Foucault)
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Enciclopèdies / Encyclopaedias
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Other resources
Pleiades geographic information about the ancient world
| Critical approaches | Guide to Stylistic Commentary | Guerin et al Handbook 6th ed. web companion | Computers and Literature LINKS | NAPCED project |
What is a pre-critical response? (Guerin, Handbook
the “gut reaction” to literature (Guerin, 6)
takes into account the pleasure of reading (or seeing a play, watching a film),
takes into account aesthetic perception
employs primarily the senses and the emotions
does not need any special knowledge to comprehend
“It may be said to underlie or even drive the critical response” (Guerin, 6)
Subjective (though not relativistic) approach is not incompatible with more logical and intellectual approach
Studying and reading literature for pure pleasure
Specialized knowledge derived from criticism can enhance pleasure
Film students can enjoy a film with as much excitement as other students, and moreover they can comprehend what they see as they understand the technical operations of the camera, conventions of acting styles,
To feel and know at the same time
First steps into academic criticism: when students think and talk about:
plot,
character,
structure,
style,
atmosphere,
theme [see definitions in "A Glossary"]
various | archetypal criticism | critical theory | textual criticism | myth criticism | structuralism and semiotics | performance criticism | reader-oriented |
Keywords (Raymond Williams) | Key concepts (Foucault)
Critical approaches at crossref-it.info
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Guerin at Joseph (Rutgers)
Hébert's web on semiotics
Bakhtin (IEP)
Critical Theory (IEP) Critical Theory : Illuminations (U Texas)
S. Zizek (IEP)
codes (R. Barthes, S/Z, 1975) : “systems of meaning which the reader activates in response to the text” (Selden, Practising 119)
Readers do not reveal the work's structure by using these codes; rather they structure the work itself.
Five codes:
– code concerned with the “enigma” or problem (Barthes calls it hermeneutic ) : In a mystery story, “the code works by delaying the solutionto the enigma by giving false clues, by giving partial answers, ...” (Selden, Practising 119)
– code concerned with binary oppositions ( symbolic ) : oppositional concepts associated with fundamental ideas about human beings (gender, body) and society (economic divisions)
– code concerned with references to intellectual commonplaces ( cultural ) :
– semic codes : "the seme is the unit of the signifier" (Barthes 17)
– proairetic codes : actions and small sequences of the story
horizon of expectations Hans R. Jauss) : a set or paradigm of concepts, assumptions and conventions within which readers read a work (internal assumptions about genre, style, etc., and contextual assumptions about society, ideology, culture, religion, gender, etc. that readers bring to bear upon them)
There may be a dominant horizon of expectations. Author and readers may not share this horizon (e.g. William Blake). Some works may contribute to the formation of a later horizon of expectations (e.g. avant-garde authors, Beckett)
What social factors influence the way readers read the literary work?
What strategies and linguistic devices does the author use in order to guide readers in reading the work?
What strategies within the work does the reader use? and outside the work?
What horizon of expectations are implied by the work and would have been shared by its readership? “Does this affect the interpretation an audience would have made of the passage? Consider how a changed horizon (ours for example) would alter the text's significance” (Selden, Practising 173)
Focusing on extracts or short texts:
Use Barthes’ “codes” as a method of reading the excerpt, “to open up meanings and to produce signifieds” (Selden, Practising 171)
What provisional assumptions, inferences and hypothesis does the reader make as she reads given passages?
Do you think that the work "intends" to tease the reader?
Is the reader's reaction predictable?
| Guide to essay writing | Avoiding plagiarism |
General : Academic writing (Univ. Toronto) ; outline example in "Organizing an Essay" (Univ. Toronto)
Purdue Online Writing Lab ; Writer's Handbook (U Wisconsin - Madison) ;
UVictoria Writer's Guide
Phrasing: Phrasebank (Manchester Univ.)
Use of sources : quality and reliability : "Evaluating Sources" in Purdue Online Writing Lab; internet sources, "Research using the internet" Univ. Toronto ; Wikipedia Identifying reliable sources
Critical Creative Writing J. Adsit
Herramientas autocorrección en inglés de la UNED | Languagetool.org | GrammerChecker |
Comparison of MLA, APA and Chicago styles in Citation Style Chart (Purdue)
ISO 690: 1987 uoc , mondragon uni , ub uv ull une ulpgc 2010 tutorial U. Cantabria c3 Bezos
MLA style: MLA (Purdue OWL) ; "Documenting Sources" in Lunsford's Easy Writer
CHICAGO style : Chicago (Purdue OWL) ; Chicago Citation Quick Guide ; Chicago 16th ed ShipUni ; "Documenting Sources" in Lunsford's Easy Writer
APA style : APA (Purdue OWL), APA tutorial , APA web ,
MHRA: MHRA 3-2 (2013) HARVARD: Harvard (Anglia Ruskin) Harvard (Open Univ)
"Suggested Ways of Citing Digitized Early Modern Texts" by H. Froehlich post
How to identify author, title, publication information, etc. in
- works in a web site : Lunsford's source map for MLA , source map for Chicago ;
- a book: Lunsford's source map for MLA ;
- a journal: Lunsford's source map for MLA
- an article in a database : Lunsford's source map for Chicago , source map for MLA
Reference management applications: open-source software Zotero ; Citation Machine©
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Style - Usage |
Logic - Thinking |
Questions
Does the theatre production offer a given interpretation of the play?
How does the theatre production reflect the cultural context of the audience? How does it interpret a given sociopolitical reality?
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Features of the film medium: cinematic techniques
[Source: Bordwell, David, and Kristin Thompson. Film Art: An Introduction. Sixth edition. New York: McGraw-Hill, 2001.]
Shot – Editing – Sound
Shot: mise-en-scène
the director's control of what happens in the film frame (B&T 156)
what is filmed
(shot = one uninterrupted run of the camera to expose a series of frames, also called a take B&T 433
Aspects (as in theatre):
- setting,
- lighting,
--costume and make-up,
- movement and acting
Shot: cinematography
how it is filmed
cinematography = “writing in movement”, depends on photography “writing in light” B&T 193)
Three factors : 1) photographic aspects of the shot
2) framing of the shot
3) duration of the shot
1. Photography
1.1 Tonalities (choice of film stock, textures
1.2 Speed of motion
1.3 Perspective : focal length (deep focus, racking focus)
2. Framing
2.1 Frame dimensions and shape (aspect ratio)
2.2 Onscreen and offscreen space
2.3 Angle, height, and distance of framing
2.3.1 Angle : straight-on angle, high angle, low angle
2.3.2 Level : canted framing
2.3.3 Height : e.g positioning the camera close to the ground
2.3.4 Distance: extreme long shot, long shot, medium long shot (knees up), medium shot (waist up), medium close-up (from the chest up), close-up (head, hands), extreme close-up (eyes, lips)
Functions of framing
2.4 Mobile framing (or “camera movement” = the frame moving with respect to the framed material ; in other words, within the image, the framing of the object changes B&T 224)
2.4.1 Types
pan (short for 'panorama'); the camera does not displace itself, the frame scans the space
tilt ; the camera itself does not change position, but the camera's 'head' swivels up or down, impression of unrolling a space from top to bottom or viceversa
tracking shot (dolly or trucking) the camera as a whole changes position
crane shot , the camera moves above ground level, usually descending or rising
hand-held camera
Functions of frame mobility
3. Duration of the image
Long take = usually lengthy shots ; are not the same as 'long shot' (the latter refers to distance between camera and object )
(take = one uninterrupted run of the camera that records a single shot)
“sequence shot” (plan-séquence) = when an entire scene is rendered in only one shot
Editing = the coordination of one shot with the next (B6T 249)
Joins between shots: cut, transition
Transitions from one shot to the next: fade-out, fade-in, wipe, dissolve
Dimensions of film editing:
1. Graphic relations between shot A and shot B
similitudes or differences of the four aspects of mise-en-scène and most cinematographic qualities (photography, framing, camera mobility)
graphic match
2. Rhythmic relations between shot A and shot B
e.g. fast cutting to build up excitement
3. Spatial relations between shot A and shot B
e.g. 'establishing shot' followed by a shot of a part of this space
e.g crosscutting (or parallel editing)
4. Temporal relations between shot A and shot B
order : flashback, flashforward,
duration : ellipsis (elliptical editing), overlapping editing (for temporal expansion)
frequency :
Continuity editing (= “a system of cutting to maitain continuous and clear narrative action”. It relies on “matching screen direction, position and temporal relations from shot to shot” B&T 429)
Techniques : axis of action, crosscutting, cut-in, establishing shot, eyeline match, match on action, reestablishing shot, screen directions, shot/reverse shot
Alternatives to continuity editing
Sound
Fundamentals of film sound:
Perceptual properties: loudness, pitch, timbre
Selection, alteration and combination
Dimension of film sound:
Rhythm : coordination or disparity in sound and image
Fidelity :
Space : diegetic vs nondiegetic sound
resources of diegetic sound: external diegetic sound ; internal diegetic sound ( that which comes from 'inside' the mind of a character
Time : matching sound and image in synchronous sound ; asynchronous (or out-of-synch)
Temporal and spation relations that image and sound can display:
– --- – – – – – – –
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Copyright in electronic publishing Best and Grove-White
A Companion to Digital Humanities (Oxford: Blackwell, 2004)
Tools
TAPoR gateway to tools in text analysis
Visualization tools
TokenX | Tagline Generator | ManyEyes |
TagCrowd | Wordle | ManiWordle | Document Contrast Diagram | DocuBurst |
Visualization techniques: Word Tree | Phrase Nets | Tag Clouds | Theme River | Parallel Tag Clouds | Spark Clouds | Colour Circles | Document Browser | Detailed Text View | Heat Map | Multi Line Graph | Document Distribution | Scatterplot view | Tree Map | Stacked Bar Chart | Topic Clouds | Temporal View | Thread Overview | Conversation View | Data-Rich Tool Tip | Email List View | Fisheye View | View Coordination and Interaction | Facets Overview | Parallel Coordinate | Tool Tip |