500 words response 2
How to Analyze Contemporary Literature
During the semester, we will study and analyze selected works of fiction, poetry, and drama dating from the end of World War II to the present. You will learn to identify the elements of fiction, poetry, and drama (film), trace different attitudes as seen in literature during the contemporary period, evaluate style and thematic ideas, and discuss postmodern theoretical approaches to literature.
What does it mean to be contemporary? How does contemporary literature illustrate contemporary ideology? How do our selected readings provide a framework for discussing what it means to be contemporary?
For our written assignments and class discussions, we will focus on the following themes/influences of contemporary life:
Context
Everything exists in a context, a framework of circumstances and relationships. The more historical contexts we learn to recognize, the less likely we are to evaluate everything in terms of today. In reading books or watching movies from the past, the critical thinker knows better than to judge them in terms of the present. Knowledge of historical context makes one more tolerant of art forms in outmoded styles.
Consider some of the historical, social, cultural, political influences of the contemporary age: literature as a response to a world lived under the threat of Nuclear/Global War, Environmental Catastrophe, and AIDS; a world lived under the influence of technology (in which genuine experience has been replaced by simulation and spectacle), mass media expansion, faster communication, greater diversity of culture/religion/values, and globalization.
Culture
Literary texts may highlight cultural voices and sociological contexts. Analyzing the represented cultural traditions (and codes of language) can lead to a greater understanding of that culture. Studying the history of that culture (including an historical time line of the civil rights movement, voting rights, women’s rights, gay rights, and immigration in 20th America) will create a more enlightening appreciation of cultural attitudes, motivations, and actions.
A Question of Meaning
Literature shows people struggling to find meaning in a world that doesn't offer us the old assurances (of either faith or science), as it breaks down our faith in the supremacy of the
rational, scientific human being (e.g. comparisons between animals and humans and machines). In our contemporary world, meaning is not stable or absolute; values and identity are relative to culture, religion, and geography.
Defining Reality
Authors use metafiction, magical realism, and surrealism to draw our attention to their literary work’s relationship (or non-relationship) to “reality.” Literature emphasizes the fragmentation in the human experience of contemporary culture, and uses it as an artistic strategy. Literature questions our ability to understand ourselves and our culture, questions omniscience by questioning our ability to accurately see reality, and questions the link between language and reality (everything is a biased representation).
Social Implications
Contemporary authors emphasize the permeability of old boundaries: between men and women; between the East and the West; between high and low culture, challenging borders and limits (including those of decency), and exploring the marginalized aspects of life and marginalized elements of society
How to Analyze Poetry
Origins of Verse
Poetry comes from an oral tradition dating back to the songs of minstrels. The verse form may be lyrical or narrative. Narrative poetry (telling a story in rhythmic language) was probably the earliest form of one of humanity's earliest arts. Verse containing rhyme and rhythm made it easier for both performer and audience to remember the songs/poems. Minstrels sang of historical and contemporary events, and were expected to deliver elevated narratives in inspiring language. The term lyrical refers broadly to a poem, sentence, or phrase that is a rhythmic and reflective way of stating something. Lyric Greek poetry is found in the work of Sappho, who lived in the early 6th century B.C.E. and who may have been the first poet on record to write about her personal feelings (the joys of love were her main subjects).
Figurative Language
Why is poetry so hard to understand? The figurative language (metaphor, symbolism, analogy) of poetry allows for the expression of deeper meanings. Shakespeare and Donne mastered the technique of conceit, an elaborate way of talking about something in terms of other things, suggesting to the reader more than one interpretation (the literal/concrete/physical vs. the hidden/abstract/symbolic/figurative).
Metaphor is a literary technique used to describe one object, situation or idea through an implicit (direct) comparison with another. In the below example, pay close attention to what is being compared:
Little boys lie still, awake, Wondering, wondering, Delicate little boxes of dust.
In order to create a visual picture of these little boys, the poet chose an image that the audience could easily visualize, in this case the delicate little boxes of dust. Imagine what a "delicate little box of dust" looks like. Then place that image onto the boys. Now visualize the boys. What is their life like? What do they look like? By comparing the boys to the boxes, the poet has placed a known subject (a box of dust) onto an unknown subject (these particular boys), making the unknown knowable to the audience.
A poet could also write a simile, a direct comparison using the words like or as. The simile is an explicit, stated comparison:
The child's cry opens like a knife blade. I wandered lonely as a cloud.
Since poetry comes from an oral tradition, the sound of poetry influences tone, mood, and meaning. As you read poetry out loud, pay attention to the sounds of the letters and words. Soft-sounding letters (such as "o" sounds) will create a smooth, pleasant tone. Hard sounding letters (such as "c" or "k") will create a harsh, tense mood. Alliteration is the repetition of the initial sound of words in a line of verse:
Blackbirds whistled and chirped near the barren church.
Sometimes alliteration includes both initial sounds and interior sounds as in blueberry. The repetition of the "b" sound is also an example of consonance. The repetition of vowel sounds within words or lines is called assonance, which creates a rhyme or a near-rhyme:
...and land so lightly
And roll back down the mound beside the hole.
In personification, an inanimate object is described as it it were human:
Driving past the fields, I could hear the soybeans breathing.
I bowed my head, and heard the sea far off Washing its hands.
Poets may use universal symbols to reveal a deeper meaning. For instance, the sun is a symbol of warmth/light/God, the return of spring as resurrection/rebirth, the bird as a symbol of spirit/freedom, the lion as an emblem of courage, the rose as an example of beauty/love. The use of color can also be symbolic. In Western culture, a poet may use dark, bleak images and colors to create a depressing or horrifying mood. Lighter, more "bright" colors and images may inspire or "brighten" a mood, or show a sense of enlightenment or wisdom. In other cultures, the opposite may hold true: bright/white may indicate a sterile, colorless environment, or a funeral procession! Darker images may indicate a sophisticated/created style or depth of character.
Basic Questions for Rhetorical Analysis
These following questions will help you, the reader, to pinpoint the poet's intent and the possible meanings:
What is the rhetorical situation (the situation/problem/conflict for the poem's speaker)?
Who is the speaker of the poem? (Don't assume the poet is the speaker! You may choose
to view the speaker as you would a character in fiction.)
What occasion or event (historical or personal) may have compelled the poet to write this poem? (Research the poet's life and times.)
What is the speaker's intention? How does the speaker come across? Define the emotion or reason in the tone and word choices.
Who is the intended audience? What values does the audience hold that the author or speaker appeals to?
What is the relationship between the poem's form and content? (Closely examine the stanza structure, line breaks, formatting, etc.)
What does the style of the writing reveal about the culture that produced it? (Again, educate yourself on the poet's life and times!)
Free Verse Poetry
At the turn of the 20th Century, artists demanded more freedom of expression; in a poetic sense, Modern and Contemporary Poets began to structure language as it suited their own needs. Free Verse poetry lacks a traditional system of measure; however, it is not without a certain sense of form and strategy. Poets began to choose line beginnings and endings to create specific meaning and feeling. Stanza breaks could serve as a device to create tension or to create a natural pause. Poets began to build toward the last line -- to move us, startle us, give us sudden insight. Subjectivity increased, and by the 1950s and 60s, Beat and Confessionalist Poets turned to a style of emotional autobiography, shifting the role of audience from objective observer to personal confidant.
Consider how style and form creates meaning in the following free-verse poem by Charles Bukowski. Note how the line lengths and breaks reinforce the poem's title, and carefully examine how the poet's deliberate use of the lower case helps to convey tone and meaning:
Confession
waiting for death like a cat
that will jump on the bed
I am so very sorry for my wife
she will see this
stiff
white
body
shake it once, then maybe
again
"Hank!"
Hank won't
answer.
it's not my death that worries me, it's my wife left with this
pile of
nothing.
I want to
let her know
though
that all the nights sleeping
beside her
even the useless arguments
were things
ever splendid
and the hard
words
I ever feared to
say
can now be
said:
I love
you.
In the following poem by James Wright, please consider the poet's choice of line and stanza breaks. Note the shift in tone from stanza one to stanza two, and how the poet uses descriptive and symbolic imagery to convey a sense of transformation and inspiration.
Small Frogs Killed on the Highway
Still,
I would leap too
Into the light,
If I had the chance.
It is everything, the wet green stalk of the field On the other side of the road.
They crouch there, too, faltering in terror
And take strange wing. Many
Of the dead never moved, but many
Of the dead are alive forever in the split second Auto headlights more sudden
Than their drivers know.
The drivers burrow backward into dank pools Where nothing begets
Nothing.
Across the road, the tadpoles are dancing On the quarter thumbnail
Of the moon. They can’t see,
Not yet.
James Wright
