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angl lit 3
| Term | Definition |
|---|---|
| Cultural studies | Critical approach concerned with the social, political, and economic forces that create or threaten a community |
| Cultural studies – key assumption | Dominant groups determine ideology |
| Cultural studies – view of masterpieces | Rejects the idea of a single, universal literary masterpiece |
| New historicism | Critical approach (late 1970s–1980s) that challenges traditional historicism by viewing history as subjective and discursive |
| Traditional historicism | Approach that assumes factual accuracy and an objective stance toward history |
| History as narration | The idea that all history is constructed through subjective narratives |
| Discourse | Ways of seeing, talking about, and understanding the world |
| Self-positioning | The act of openly acknowledging one’s own ideological stance |
| Spirit of an age | The belief that a historical period has a single, unified worldview, challenged by New Historicism |
| Power and discourse | Power is generated and exercised through discourse by dominant groups |
| Dynamic culture | The idea that culture is constantly changing |
| New historicism – goal of analysis | Understanding texts through context and context through texts |
| New criticism / formalism | School of criticism that sees literary texts as universal and ahistorical |
| Background criticism | Approach that uses historical context to guide interpretation |
| Traditional historical scholarship | Uses literary texts to understand historical periods |
| Cultural materialism | British counterpart to New Historicism that sees texts as part of ongoing history |
| History is textual | The idea that history and literature are inseparable and mediated by texts |
| Negotiation (reader–text) | Meaning arises from interaction between text, reader, and historical power relations |
| Stephen Greenblatt | Scholar credited with establishing New Historicism |
| Othering | Defining identity by contrast with what one is not |
| Once Upon a Time – plot | A wealthy family’s obsession with security leads to the death of their child |
| Narrative structure (Once Upon a Time) | A fairytale framed within an anecdote |
| Apartheid | System of racial segregation in South Africa (1948–1994) |
| New Historicist reading (Felker) | Shows how apartheid deforms both oppressors and oppressed |
| House as apartheid model | The family home symbolizes apartheid in miniature |
| Fairytale conventions | Used ironically to expose apartheid brutality |
| Economic interdependence | Wealth concentration creates fear and paranoia among the ruling class |
| Sharpeville riots | 1960 anti-apartheid protest violently suppressed |
| Soweto uprising | 1976 student-led protest against apartheid education |
| Blurred brutalizer/brutalized line | Oppressors are materially privileged but psychologically trapped |
| Foster – plot | A neglected girl finds care and stability with foster parents |
| Historical context (Foster) | The Troubles in Ireland (1968–1998) |
| 1981 Irish hunger strike | Protest against the revocation of political prisoner status |
| Fosterage | Ancient Irish custom involving child-rearing by other families |
| Fairytale inversion | Foster parents are kind rather than cruel |
| Continuous present tense | Narrative technique associated with trauma recollection |
| Gothic mode | Creates estrangement and unease |
| Epiphany (hand in the well) | Moment of self-awareness and transformation |
| Individuation | Asserting independence through risk |
| Petal – characterization | Perceptive, powerless, hopeful |
| Da – characterization | Coarse and nearly abusive father |
| Mr. Kinsella | Educates and nurtures Petal |
| Aunt Edna | Teaches that secrecy implies shame |
| Unspoken | Sign of reverence and respect |
| Ending of Foster | Petal’s silence signifies choice and emotional growth |
| “Daddy” | Suggests redefined parenthood or emotional warning |
| Lost heifer motif | Symbolizes Petal’s fear of being abandoned |
| The Lost Heifer poem | Represents lost Irish cultural heritage |
| Rhubarb stick | Symbol of care and rescue |
| Water motif | Purification and renewal |
| Origins of fosterage | Pre-Christian Irish tradition under Brehon laws |
| Altram serce | “Nourishment of the heart” |
| 20th century Ireland | Childhood becomes politically significant |
| Final hug (Foster) | Represents emotional articulation and belonging |
| Invictus – meaning | Latin for “unconquered” |
| Main theme (Invictus) | Overcoming adversity |
| Anaphora | Repetition of words or phrases for emphasis |
| Relation to Mandela | Poem inspired resilience during imprisonment |
| Never Again – theme | Celebration of apartheid’s end and global resistance |
| Prophets of da City | Politically influential South African hip-hop group |
| Azania | Name symbolizing a future Black-ruled South Africa |
| Jamaican Patois | English-based creole used in the song |
| Adaptation (Hutcheon) | A creative, interpretive process producing a new work |
| Intertextuality | Adaptations depend on awareness of other texts |
| Against fidelity criticism | Adaptations shouldn’t be judged by faithfulness |
| Modes of engagement | Telling, showing, and interacting |
| Psychological criticism | Approach analyzing literature through the human psyche |
| Catharsis | Purging of pity and fear in tragedy (Aristotle) |
| Freud | Founder of psychoanalysis |
| Id | repository of the libido, operates without any thought of consequences, socially destructive force |
| Ego | operates according to the reality principle and acts as a regulating agency |
| Superego | operates according to the morality principle – it provides a sense of moral wrongdoing, and it’s influenced by society’s institutions |
| Dream symbolism | Access to the unconscious |
| Condensation | Combining multiple ideas into one symbol |
| Displacement | Shifting emotional intensity |
| Trauma | A disruptive experience altering perception and identity |
| Pathogenic reminiscence | Painful memory that gives meaning to trauma |
| Dissociation | Defense mechanism separating memory and awareness |
| First wave trauma studies | Emphasized unspeakability and belatedness |
| Belatedness | Delayed understanding of trauma |
| Pluralistic trauma theory | Considers cultural, structural, and individual factors |
| Young Goodman Brown – context | Salem witch trials |
| Fellow traveler | Embodiment of Brown’s id |
| Forest | Symbol of the unconscious |
| Sexual symbolism | Devil’s staff, fire, forest |
| On Earth We’re Briefly Gorgeous | Epistolary novel addressing intergenerational trauma |
| Refugee narrative | Story emphasizing resilience and displacement |
| Intergenerational trauma | Transmission of trauma across generations |
| Collapse of language | Language fails to express trauma |
| Ode to Artifice | Song about duality and repression |
| The double | Embodiment of repressed self |
| Breathing Song | Explores consent and sexual abuse |
| Distorted sound | Auditory representation of trauma |
| Homophobia | Institutionalized hatred of LGBTQ people |
| Heteronormativity | Assumption that heterosexuality is normal |
| Internalized homophobia | Self-directed stigma |
| Homosocial | Same-sex bonding |
| Lesbian continuum | Range of woman-identified experiences (Adrienne Rich) |
| Gay sensibility | Distinct worldview shaped by queer experience |
| Camp | Exaggerated, theatrical self-expression |
| Queer criticism | Views sexuality as fluid and socially constructed |
| Intersectionality | Theory of overlapping systems of oppression |
| Matrix of domination | Interlocking structures of power |
| Graphic novel | Book-length narrative in comic form |
| Format vs genre | Graphic novel is a format, not a genre |
| Will Eisner | Popularized the term “graphic novel” |
| Aunt Jennifer’s Tigers | Poem about female oppression and artistic resistance |
| Tigers symbol | Desire and freedom |
| Poem II (Rich) | Celebrates lesbian love and resistance |
| 1 in 2 (Danez Smith) | Poem addressing AIDS and Black queer identity |
| Diaspora | Dispersed cultural identity |
| Dear Straight People | Poem confronting heteronormative aggression |
| What It Feels Like to Be Transgender | Slam poem on trans experience |
| Welcome to St. Hell | Metafictional trans coming-of-age graphic novel |
| First Wave Trauma Theory (1990s) | Associated with Cathy Caruth and others; suggests extreme events are never known directly and history fails to adequately represent them. |
| Double Paradox of Trauma | The wish to know what happened versus the mental inability to fully comprehend the traumatic event. |
| Pluralistic Trauma Theory | Conceptualizes trauma as an interplay of external forces, internal character traits, and cultural factors. |
| Belatedness (Caruth) | The idea that trauma is a delayed response to an overwhelming event. |
| Railway Spine / Shellshock | Early historical terms used for trauma during the Industrial Revolution and WWI before the recognition of PTSD. |
| 1980 | The year Post-Traumatic Stress Disorder (PTSD) was officially recognized by the American Psychiatric Association. |
| Vietnam War (1955–1975) | Conflict between North Vietnam (Soviet/China supported) and South Vietnam (U.S. supported). |
| Intergenerational Trauma | Traumatic effects and psychological wounding transmitted from one generation (like the refugee mother) to the next (the son). |
| Macaque Scene Symbolism | Represents how Lan and the monkey were treated as subhuman by American aggressors. |
| Taxidermied Deer Head | A motif representing "a death that won't finish." |
| Trevor’s Scar | Symbolizes a "comma forced to be a period," linking physical trauma to the inadequacy of language. |
| Late-night Funeral in Saigon | A symbol of non-normative healing and the protagonist’s embrace of his queer identity. |
| Heteronormativity | Social attitudes and assumptions that pressure individuals to be what is conventionally defined as sexually "normal." |
| Heterocentrism | The often unconscious assumption that heterosexuality is universal. |
| Queer Theory (Teresa de Lauretis) | A field emerging from the need to challenge how lesbian and gay studies failed to account for race and methodological problems. |
| Gender Performativity (Judith Butler) | The theory that gender is not an essence but a set of social codes and acts performed by the body. |
| Compulsory Heterosexuality (Adrienne Rich) | The cultural mandate that forces women into heterosexuality and restricts female-to-female relationships. |
| Polymorphous Perverse | Freud’s term for infants being open to all kinds of sexual pleasure before the "socializing" process begins. |
| The Great Paradigm Shift (Foucault) | The historical transition from viewing same-sex acts as a "sin" (sodomite) to a "species" or identity (homosexual). |
| Graphic Novel | A book in comic format that resembles a novel in length and narrative development; a format, not a genre. |
| Will Eisner | The writer/artist who popularized the term "graphic novel" with his 1978 work "A Contract with God." |
| Graphic Novel vs. Comic Book | Graphic novels are typically longer, book-bound, and contain a complete narrative arc in one volume. |
Created by:
soumana