STRUCTURE OF FEELING
Raymond Williams coined this phrase in Preface to Film (1954) to discuss the relationship between dramatic conventions and written texts. What concerned Williams was the social acceptability of particular conventions—think of the theme of mistaken identity which is rife in Shakespeare's plays which without the benefit of special effects relies on convention for its plausibility. In later works, particularly The Long Revolution (1961), Williams would develop this concept further, using it to problematize (though not refute) Antonio Gramsci's concept of hegemony. Hegemony, which can be thought of as either ‘common sense’ or the dominant way of thinking in a particular time and place, can never be total, Williams argued, there must always be an inner dynamic by means of which new formations of thought emerge. Structure of feeling refers to the different ways of thinking vying to emerge at any one time in history. It appears in the gap between the official discourse of policy and regulations, the popular response to official discourse and its appropriation in literary and other cultural texts. Williams uses the term feeling rather than thought to signal that what is at stake may not yet be articulated in a fully worked-out form, but has rather to be inferred by reading between the lines. If the term is vague it is because it is used to name something that can really only be regarded as a trajectory. It is this later formulation that is most widely known.
The Third Space
is a postcolonialsociolinguistic theory of identity and community realized through language or education. It is attributed to Homi K. Bhabha. Third Space Theory explains the uniqueness of each person, actor or context as a “hybrid”.Edward W. Soja for a conceptualization of the term within the social sciences and from a critical urban theory perspective.
variorum, short for (editio) cum notis variorum, is a work that collates all known variants of a text. It is a work of textual criticism, whereby all variations and emendations are set side by side so that a reader can track how textual decisions have been made in the preparation of a text for publication. The Bible and the works of William Shakespeare have often been the subjects of variorum editions, although the same techniques have been applied with less frequency to many other works.
The iceberg theory or theory of omission is a writing technique coined by American writer Ernest Hemingway. As a young journalist, Hemingway had to focus his newspaper reports on immediate events, with very little context or interpretation. When he became a writer of short stories, he retained this minimalistic style, focusing on surface elements without explicitly discussing underlying themes. Hemingway believed the deeper meaning of a story should not be evident on the surface, but should shine through implicitly.
A memory play is a play in which a lead character narrates the events of the play, which are drawn from the character's memory. The term was coined by playwright Tennessee Williams, describing his work The Glass Menagerie. In his production notes, Williams says, "Being a 'memory play', The Glass Menagerie can be presented with unusual freedom of convention."In a widening of the definition, it has been argued that Harold Pinter's plays Old Times, No Man's Land and Betrayal are memory plays, where "memory becomes a weapon". Brian Friel's Dancing at Lughnasa is a late 20th-century example of the genre.
Martin Heidegger developed the concept of the hermeneutic circle to envision a whole in terms of a reality that was situated in the detailed experience of everyday existence by an individual (the parts). So understanding was developed on the basis of "fore-structures" of understanding, that allow external phenomena to be interpreted in a preliminary way.
Another instance of Heidegger's use of the hermeneutic circle occurs in his examination of The Origin of the Work of Art (1935–1936). Here Heidegger argues that both artists and art works can only be understood with reference to each other, and that neither can be understood apart from 'art,' which, as well, cannot be understood apart from the former two. The 'origin' of the work of art is mysterious and elusive, seemingly defying logic: "thus we are compelled to follow the circle. This is neither a makeshift or a defect. To enter upon the path is the strength of thought, to continue on it is the feast of thought, assuming thinking is a craft. Not only is the main step from work to art a circle like the step from art to work, but every separate step that we attempt circles this circle. In order to discover the nature of the art that really prevails in the work, let us go to the actual work and ask the work what and how it is."
Characterizing the Harlem Renaissance was an overt racial pride that came to be represented in the idea of the New Negro, who through intellect and production of literature, art, and music could challenge the pervading racism and stereotypes to promote progressive or socialist politics, and racial and social integration. The creation of art and literature would serve to "uplift" the race.
There would be no uniting form singularly characterizing the art that emerged from the Harlem Renaissance. Rather, it encompassed a wide variety of cultural elements and styles, including a Pan-African perspective, "high-culture" and "low-culture" or "low-life," from the traditional form of music to the blues and jazz, traditional and new experimental forms in literature such as modernism and the new form of jazz poetry. This duality meant that numerous African-American artists came into conflict with conservatives in the black intelligentsia, who took issue with certain depictions of black life.
Some common themes represented during the Harlem Renaissance were the influence of the experience of slavery and emerging African-American folk traditions on black identity, the effects of institutional racism, the dilemmas inherent in performing and writing for elite white audiences, and the question of how to convey the experience of modern black life in the urban North.
The Harlem Renaissance was one of primarily African-American involvement. It rested on a support system of black patrons, black-owned businesses and publications. However, it also depended on the patronage of white Americans, such as Carl Van Vechten and Charlotte Osgood Mason, who provided various forms of assistance, opening doors which otherwise might have remained closed to the publication of work outside the black American community. This support often took the form of patronage or publication. Carl Van Vechten was one of the most noteworthy white Americans involved with the Harlem Renaissance. He allowed for assistance to the black American community because he wanted racial sameness.
There were other whites interested in so-called "primitive" cultures, as many whites viewed black American culture at that time, and wanted to see such "primitivism" in the work coming out of the Harlem Renaissance. As with most fads, some people may have been exploited in the rush for publicity.
The picaresque novel (Spanish: picaresca, from pícaro, for "rogue" or "rascal") is a genre of prose fiction that depicts the adventures of a roguish, but "appealing hero", of low social class, who lives by his wits in a corrupt society.Picaresque novels typically adopt a realistic style, with elements of comedy and satire. This style of novel originated in Spainin 1554 and flourished throughout Europe for more than 200 years, though the term "picaresque novel" was only coined in 1810. It continues to influence modern literature. The term is also sometimes used to describe works, like Cervantes' Don Quixote and Charles Dickens' Pickwick Papers, which only contain some of the genre's elements.
According to the traditional view of Thrall and Hibbard (first published in 1936), seven qualities distinguish the picaresque novel or narrative form, all or some of which an author may employ for effect:
A picaresque narrative is usually written in first person as an autobiographical account.The main character is often of low character or social class. He or she gets by with wits and rarely deigns to hold a job.There is no plot. The story is told in a series of loosely connected adventures or episodes.There is little if any character development in the main character. Once a pícaro, always a pícaro. His or her circumstances may change but these rarely result in a change of heart.The pícaro's story is told with a plainness of language or realism.Satire is sometimes a prominent element.The behavior of a picaresque hero or heroine stops just short of criminality. Carefree or immoral rascality positions the picaresque hero as a sympathetic outsider, untouched by the false rules of society.
In the English-speaking world, the term "picaresque" is often used loosely to refer to novels that contain some elements of this genre; e.g. an episodic recounting of adventures on the road.
The word pícaro first starts to appear in Spain with the current meaning in 1545, though at the time it had no association with literature.The word pícaro does not appear in Lazarillo de Tormes (1554), the novella credited by modern scholars with founding the genre. The expression picaresque novelwas coined in 1810.Whether it has any validity at all as a generic label in the Spanish sixteenth and seventeenth centuries—Cervantes certainly used "picaresque" with a different meaning than it has today—has been called into question. There is unresolved debate within Hispanic studies about what the term means, or meant, and which works were, or should be, so called. The only work clearly called "picaresque" by its contemporaries was Mateo Alemán's Guzmán de Alfarache (1599), which to them was the Libro del pícaro (The Book of the Pícaro).