wuthering heights
Literature and Creativity in English
Semester II
2014
Unit I
Dr. Magda
Introduction
This course provides a lively introduction to stylistic, sociolinguistic and multimodal analysis. It draws on work in literature and performance studies as well as English language studies.
This part of the course looks at texts designed for public consumption,
including: poetry, plays and novels, picture books, performance art, eliterature, and adverts. What distinguishes some of these texts as high quality literature while others are dismissed as ephemeral and of little lasting value?
How are new types of technology enabling or even challenging our understanding of literary creativity and its different forms? And how far does considering the processes involved in reading and authoring literary texts help to illuminate these issues? This section of the course explores the idea that more ephemeral texts make creative use of a shared literary and cultural heritage. It also explores social and ideological issues, and the influence of historical processes and different cultural contexts on what counts as literary language and how this is understood.
(Course Guide)
Chapter I
This chapter establishes many of the key concepts and
perspectives used in the book and will enable readers to begin articulating their responses to questions of what constitutes literary creativity.
Simpology
Simplicity and Technology
Activity I : Ariel’s song, text from a brochure for Nissan
Micra car, a poem by Hart Seely, Peter Carey’s novel , the Guardian Newspaper, extract from Asian Dub
Foundation, 2000 (examples in page 5).
Creativity as an inherent in the text
Aristotle’s scientific approach of analysis.
How Creativity works
Three Approaches (Carter, 1999)
The inherency approach treats artistry as residing
within creative uses of language intrinsic within the text. The sociocultural approach explores social and
ideological
Semester II
2014
Unit I
Dr. Magda
Introduction
This course provides a lively introduction to stylistic, sociolinguistic and multimodal analysis. It draws on work in literature and performance studies as well as English language studies.
This part of the course looks at texts designed for public consumption,
including: poetry, plays and novels, picture books, performance art, eliterature, and adverts. What distinguishes some of these texts as high quality literature while others are dismissed as ephemeral and of little lasting value?
How are new types of technology enabling or even challenging our understanding of literary creativity and its different forms? And how far does considering the processes involved in reading and authoring literary texts help to illuminate these issues? This section of the course explores the idea that more ephemeral texts make creative use of a shared literary and cultural heritage. It also explores social and ideological issues, and the influence of historical processes and different cultural contexts on what counts as literary language and how this is understood.
(Course Guide)
Chapter I
This chapter establishes many of the key concepts and
perspectives used in the book and will enable readers to begin articulating their responses to questions of what constitutes literary creativity.
Simpology
Simplicity and Technology
Activity I : Ariel’s song, text from a brochure for Nissan
Micra car, a poem by Hart Seely, Peter Carey’s novel , the Guardian Newspaper, extract from Asian Dub
Foundation, 2000 (examples in page 5).
Creativity as an inherent in the text
Aristotle’s scientific approach of analysis.
How Creativity works
Three Approaches (Carter, 1999)
The inherency approach treats artistry as residing
within creative uses of language intrinsic within the text. The sociocultural approach explores social and
ideological