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film. It is closely connected to terms such as close-up, medium and
long shot that refer to the distance between the camera and the
filmed object or person, as well as to the choice of which segment
of a setting is to be represented. Similar effects can be achieved with
wide-angle or telephoto lenses; see also mise-en-scène.
gender theory, 91 4: recent development of feminist literary theory
that no longer focuses exclusively on women, but includes issues
concerning both genders in the interpretation of literary texts.
genre, 3: term to classify the traditional literary forms of epic (i.e.,
fiction), drama, and poetry. These categories or genres are still
commonly used, although the epic has been replaced by the novel
and short story. In the English-speaking world, genre denotes fiction,
drama, and poetry; see also discourse and text type.
gothic novel, 12: sub-genre of the novel with an eerie, super-natural
setting. It was particularly popular in the nineteenth century.
Greek theater, 48: open-air amphitheater consisting of an orchestra
and a skene (stage building). The audience was seated in circles
around the orchestra. The actors moved between the skene and the
orchestra, and the chorus was positioned in the orchestra between
the audience and the actors. In the comedies and tragedies of classical
Greek drama, all actors wore masks.
hermeneutics, 72: traditional term for the scholarly interpretation of
a text.
historical novel, 12: sub-genre of the novel with characters and plot
in a realistic-historical context. New journalism, which recounts real
events in the form of a novel, is a related movement in the second
half of the twentieth century.
history play, 42: sub-genre of drama. In the English tradition, it dates
back to the Renaissance and dramatizes historical events or
personalities.
GLOSSARY 141
iambus, 38: foot in which an unstressed syllable is followed by a
stressed syllable (Ø2 ), as for example in Th cúr|fw tólls|th
knéll|Of pár|t-ng dáy.
imagery, 29: term which derives from the Latin imago ( picture )
and refers mainly to the use of concrete language to lend a visual
quality to abstract themes in a poem; see also imagism.
imagism, 33: literary movement in the early twentieth century closely
associated with Ezra Pound. It attempts to reduce and condense
poetry to essential images. Concrete language without decorative
elements is employed to achieve a strong visual effect or imagery.
individualization, 18: characterization that emphasizes a multiplicity
of character traits in a literary figure, rather than one dominant
feature; see also typification.
intentional fallacy, 81: wrong belief in the author s intention ;
important term of new criticism, aimed against interpretations
which try to reconstruct the author s original intentions when
writing a text and thereby neglect intrinsic aspects of the text; see
also affective fallacy.
interior monologue, 23: narrative technique in which a figure is
exclusively characterized by his or her thoughts without any other
comments; it is influenced by psychoanalysis and related to the
stream-of-consciousness technique.
internal method, 51: one of the two main methods in actor training.
It builds on individual identification of the actor with her or his part.
In contrast to the external method, which tries to simulate personal
feelings, this method works with the internalization of emotions and
situations that are required in the part. This approach, which goes
back to Konstantin Stanislavsky and his pupil Lee Strasberg, is also
referred to as The Method .
internal rhyme, 38: type of rhyme which is not based on end rhyme
but rather on alliteration or assonance; most Old English and some
Middle English poetry uses internal rhyme.
interpretation, 72: modern term for hermeneutics and exegesis, i.e.,
the search for the meaning of a text; sometimes seen in opposition
to evaluative literary criticism.
introductory paragraph, 103: the first paragraph of a scholarly
paper, which informs the reader about the focus, methodology, and
structure of the entire paper; see also thesis statement.
journal, 5: regularly issued scholarly publication which contains
essays and sometimes notes, book reviews, or review essays; see also
secondary source.
142 GLOSSARY
lighting, 57: visual element used in film and drama to enhance levels
of content visually.
literary criticism, 94: systematic, scholarly approach to literary
texts, often used synonymously with interpretation; see also literary
theory.
literary history, 89: context-oriented approach which mainly deals with
the chronological and periodical classification of literary texts. This
movement is informed by historical methodology; it dates and
categorizes literary works and examines the influence of earlier on
later works.
literary theory, 73: also referred to as critical theory; philosophical
and methodological basis of literary criticism, including varying
approaches to texts; the respective schools can be grouped according
to text-, author-, reader-, and context-oriented approaches.
literature, 1 7: vague umbrella term for written expression; it
conventionally refers to primary and secondary sources; see also text.
lyric poetry, 27: term for a variety of short poetic forms such as the
sonnet, the ode, and the elegy. In contrast to the more complex and
longer narrative poetry, it usually revolves around a single event,
impression, or idea.
Marxist literary theory, 89: context-oriented approach based on the
writings of Karl Marx (1818 83) and other Marxist theorists. It
analyzes literary texts as expressions of economic, sociological, and
political backgrounds. Conditions of production in particular
periods are examined with respect to their influence on literary
writings of the time.
metafiction, 78: fiction about fiction ; term for self-reflexive
literary texts which focus on their own literary elements, such as
language, narrative, and plot structure; it is a main feature of
postmodernism.
metaphor, 31: rhetorical figure which equates one thing with another
without actually comparing the two (e.g., My love is a red, red
rose ); see also simile.
meter, 37: element of the rhythmic-acoustic dimension of poetry;
stressed and unstressed syllables of a line can be organized in feet. In
order to describe the meter of a verse, one indicates the name of the
foot and the number of the feet used (e.g., iambic pentameter=5
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