I. Anwer The Following Brief Questions

Técnicas de estudio y análisis en literatura ingles
Topics 1-5
Dpto. de Filología Inglesa
I. Anwer the following brief questions

1. 1.2. Using Jakobson’s model, we can say that a literary text is…
2. 1.3. Who is the author of the following passage and which special feature of literature
illustrates it:
One morning, when Gregor Samsa woke from troubled dreams, he found himself
transformed in his bed into a horrible vermin. He lay on his armour-like back, and if
he lifted his head a little he could see his brown belly, slightly domed and divided by
arches into stiff sections. The bedding was hardly able to cover it and seemed ready
to slide off any moment. His many legs, pitifully thin compared with the size of the
rest of him, waved about helplessly as he looked.
3. 1.5. Explain the meaning and consequences of the statement “literature is a socially created
object”.
4. 1.7. List the suggested stages (page 7) for the interpretation and analysis of literary texts as
suggested by Correa Calderón and Lázaro Carreter (1969).
5. 1.9. What is the title and who is the author of these famous lines analyzed in Topic:
Wouldst thou hear what man can say
In a little? Reader, stay.
Underneath this stone doth lie
As much beauty as could die;
6. 2.1. Enumerate and explain the three distinctive areas of literary competence.
7. 2.2 Literary texts are open to many interpretations, does this mean that all of them are
equally acceptable? If not, explain how this issue can be answered.
8. 2.3. Provide an explanation of the main features of the Chicago School (1950s).
9. 3.1. What is the relationship between verse and poetry?
10. 3.2. The first criterion for defining poetry is that it is a highly overcoded variety of
literary language usually, but not necessarily, formalized, in the first instance, through
verse. Which is the second?
11. 3.3. Explain what a iambic pentameter is. And a blank iambid pentameter?
12. 3.3. In which three main groups are literary devices divided?
13. 3.5. What is a pleonams?
14. 4.3. What is discoursal point of view?
15. 4.5. What is the name of the kind of secret communication exemplified by this text:
If once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he
comes next to drinking and Sabbath-breaking, and from that to incivility and procrastination. Once begun
upon this downward path, you never know where you are to stop. Many a man has dated his ruin from some
murder or other that perhaps he thought little of at the time.
What work has it been taken from? Who is its author?
16. 4.8. What are catalyzers or satellites?
17. 5.1. Give three main features proper to drama and differetntiating it from poetry or
narrative.
18. 5.3. What is dramatic text? What is performance text?
19. 5.4 What is Maxim of quantity and in which way is ti connected to draam?
20. 5.5. In which way are turn-taking, adjacency pairs, important for drama?
[…]
II. Make a comments as requested of the following passages or images.
1. What is the relationship of this image to the question of double standard as
discussed by and the definition of literature? Who is the artist?
2. What does the following sonnet tell us about the act or reading?
I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shatter’d visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamp’d on these lifeless things,
The hand that mock’d them and the heart that fed.
And on the pedestal these words appear:
“My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”
Nothing beside remains: round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away.
3. What is the relationship between the following texts:

Earth in beauty dressed
Awaits returning spring.
All true love must die,
Alter at the best
Into some lesser thing.
Prove that I lie.
Such body lovers have,

Such exacting breath,
That they touch or sigh.
Every touch they give,
Love is nearer death.
Prove that I lie.
Out upon it, I have lov’d

Three whole days together;
And am like to love three more,
If it prove fair weather.
Time shall moult away his wings,

Ere he shall discover
In the whole wide world again
Such a constant lover.
But the spite on’t is, no praise

Is due at all to me;
Love with me had made no stays,
Had it any been but she.
Had it any been but she,

And that very face,
There had been at least ere this
A dozen dozen in her place.
That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day
As after sunset fadeth in the west;
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire,
That on the ashes of his youth doth lie,
As the deathbed whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
A difficult for true lovers

Is to lie mute, without embrace or kiss,
Without a rustle or a smothered sigh,
Basking each in the other’s glory.
Let us not undervalue lips or arms

As reassurances of constancy,
Or speech as necessary communication
When troubles heart go groping through the dusk;
Yet lovers who have learned this last refinement-

To lie apart, yet sleep and dream together
Motionless under their starred coverlet-
Crown love with wreaths of myrtle.
Rocio Jurado’s “Se nos rompió el amor” (Manuel Alejandro and Ana Magdalena)
Charles Chaplin’s film Limelight (1952)
4. What can you say about discursive situation, of the narrative, discoursal point of
view, point of view according to the grammatical person of the narrator, report
modes, and narrative development (narrative units) of this text?
It is a northern country; they have cold weather, they have cold hearts.
Cold; tempest; wild beasts in the forest. It is a hard life. Their houses are built of logs, dark and smoky within.
There will be a crude icon of the virgin behind a guttering candle, the leg of a pig hung up to cure, a string of
drying mushrooms. A bed, a stool, a table. Harsh, brief, poor lives.
To these upland woodsmen, the Devil is as reals as you or I. More so; they have not seen us nor even know
that we exist, but the Devil they glimpse often in the graveyards, those bleak and touching townships of the
dead where the graves are marked with portraits of the deceased in the naif style and there are no flowers to
put in front of them, no flowers grow there, so they put out small votive offerings, little loaves, sometimes a
cake that the bears come lumbering from the margins of the forests to snatch away. At midnight, especially on
Walpurgisnacht, the Devil holds picnics in the graveyards and invites the witches; then they dig up fresh
corpses, and eat them. Anyone will tell you that.
Wreaths of garlic on the doors keep out the vampires. A blue-eyed child born feet first on the night of St.
John's Eve will have second sight. When they discover a witch - some old woman whose cheeses ripen when
her neighbours' do not, another old woman whose black cat, oh, sinister! follows her about all the time, they
strip the crone, search for her marks, for the supernumerary nipple her familiar sucks. They soon find it. Then
they stone her to death.
Winter and cold weather.
Go and visit grandmother, who has been sick. Take her the oatcakes I've baked for her on the hearthstone and
a little pot of butter.
The good child does as her mother bids - five miles' trudge through the forest; do not leave the path because
of the bears, the wild boar, the starving wolves. Here, take your father's hunting knife; you know how to use
it.
The child had a scabbby coat of sheepskin to keep out the cold, she knew the forest too well to fear it but she
must always be on her guard. When she heard that freezing howl of a wolf, she dropped her gifts, seized her
knife, and turned on the beast.
It was a huge one, with red eyes and running, grizzled chops; any but a mountaineer's child would have died of
fright at the sight of it. It went for her throat, as wolves do, but she made a great swipe at it with her father's
knife and slashed off its right forepaw.
The wolf let out a gulp, almost a sob, when it saw what had happened to it; wolves are less brave than they
seem. It went lolloping off disconsolately between the trees as well as it could on three legs, leaving a trail of
blood behind it. The child wiped the blade of her knife clean on her apron, wrapped up the wolf's paw in the
cloth in which her mother had packed the oatcakes and went on towards her grandmother's house. Soon it
came on to snow so thickly that the path and any footsteps, track or spoor that might have been upon it were
obscured.
She found her grandmother was so sick she had taken to her bed and fallen into a fretful sleep, moaning and
shaking so that the child guessed she had a fever. She felt the forehead, it burned. She shook out the cloth
from her basket, to use it to make the old woman a cold compress, and the wolf's paw fell to the floor.
But it was no longer a wolf's paw. It was a hand, chopped off at the wrist, a hand toughened with work and
freckled with old age. There was a wedding ring on the third finger and a wart in the index finger. By the wart,
she knew it for her grandmother's hand.
She pulled back the sheet but the old woman woke up, at that, and began to struggle, squawking and shrieking
like a thing possessed. But the child was strong, and armed with her father's hunting knife; she managed to
hold her grandmother down long enough to see the cause of her fever. There was a bloody stump where her
right hand should have been, festering already.
The child crossed herself and cried out so loud the neighbours heard her and come rushing in. They know the
wart on the hand at once for a witch's nipple; they drove the old woman, in her shift as she was, out into the
snow with sticks, beating her old carcass as far as the edge of the forest, and pelted her with stones until she
fell dead.
Now the child lived in her grandmother's house; she prospered.
5. Give an example of one of the following conversational devices relevant to our

understanding of the play: exchanges, turn-taking, moves and adjacency pairs,
topical sequences, principles of conversation, principles of politeness.?
ROS (cutting his fingernails): Another curious scientific phenomenon is the fact that the
fingernails grow after death, as does the beard.
GUIL: What?
ROS (loud): Beard!
GUIL: But you're not dead.
ROS (irritated): I didn't say they started to grow after death! (Pause, calmer.) The fingernails
also grow before birth, though not the beard.
GUIL: What?
ROS (shouts): Beard! What's the matter with you? (Reflectively.) The toenails, on the other
hand, never grow at all.
GUIL (bemused): The toenails never grow at all?
ROS: Do they? It's a funny thing - I cut my fingernails all the time, and every time I think to
cut them, they need cutting. Now, for instance. And yet, I never, to the best of my
knowledge, cut my toenails. They ought to be curled under my feet by now, but it doesn't
happen. I never think about them. Perhaps I cut them absent-mindedly, when I'm thinking
of something else.
GUIL (tensed up by this rambling): Do you remember the first thing that happen today?
ROS (promptly): I woke up, I suppose. (Triggered.) Oh - I've got it now - that man, a
foreigner, he woke us up -
GUIL: A messenger. (He relaxes, sits.)
ROS: That's it - pale sky before dawn, a man standing on his saddle to bang on the shutters -
shouts - What's all the row about?! Clear off! – but then he called our names. You
remember that - this man woke us up.
GUIL: Yes.
ROS: We were sent for.
GUIL: Yes.
ROS: That's why we're here. (He looks round, seems doubtful, then the explanation.)
Travelling.
GUIL: Yes.
ROS (dramatically): It was urgent - a matter of extreme urgency, a royal summons, his very
words: official business and no questions asked - lights in the stable-yard; saddle up and off
headlong and hotfoot across the
land, our guides outstripped in breakneck pursuit of our duty! Fearful lest we come too late.
(Small pause.)
GUIL: Too late for what?
ROS: How do I know? We haven't got there yet.
GUIL: Then what are we doing here, I ask myself.
ROS: You might well ask.

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Técnicas de estudio y análisis en literatura ingles

I. Anwer the following brief questions

3. What is the relationship between the following texts:

Such body lovers have,

Out upon it, I have lov’d

Time shall moult away his wings,

But the spite on’t is, no praise

Had it any been but she,

That time of year thou mayst in me behold

A difficult for true lovers

Let us not undervalue lips or arms

Yet lovers who have learned this last refinement-

Charles Chaplin’s film Limelight (1952)

Winter and cold weather.

Now the child lived in her grandmother's house; she prospered.

5. Give an example of one of the following conversational devices relevant to our

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