By Edward Quinn
In transparent, non-technical language, this dictionary of greater than 1,000 literary phrases and topics takes an multiplied view of the time period "literary." This booklet provides readers not just a conventional literary vocabulary, but in addition the data of similar theoretical, ancient, and cultural phrases they wish within the interdisciplinary international of up to date literary stories. New entries contain: conventional literary phrases and subject matters, corresponding to individualism, skepticism, and the Odysseus/Ulysses subject; literary themes that experience turn into more and more renowned in recent times, similar to terrorism and felony literature; and matters perennially renowned between writers, equivalent to alcoholism, baseball, and vampirism. good points contain: clean definitions and examples of normal literary and comparable phrases comparable to meter, antagonist, and New feedback; essays on significant subject matters in literature corresponding to evil, strength, love, demise, time, and extra; phrases concerning multicultural and feminist literature; significant modern theoretical phrases, with transparent definitions and examples; tradition phrases from movie, tv, psychology, historical past, and different fields relating to literature; references for extra interpreting; and large cross-references
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Extra resources for A Dictionary of Literary And Thematic Terms
Charles Dickens departs from this tradition in David Copperfield (1849–50), presenting his novelist/hero as an unexceptional figure, a transparent window through which we view the novel’s other, very colorful characters. In the stories of Henry James, such as “The Jolly Corner,” the artist is rendered as a detached observer who withdraws from life in order to capture it in the lens of his art. The danger of such withdrawal is the theme of Thomas Mann’s Death in Venice (1910), in which elemental forces long suppressed by the artist’s self-discipline erupt and bring about his death.
Bad quarto Term applied to certain early editions of Shakespeare’s plays that exhibit various forms of corruption, including omissions, insertions, and garbled passages. The common assumption is that the bad quartos represent the “stolen and surreptitious copies,” referred to in the Preface to the FIRST FOLIO, the first collected edition of Shakespeare’s plays. Some textual scholars have effectively refuted this view in relation to at least one of the so-called bad quartos, the 1608 edition of King Lear, which is now accepted as a legitimate text, based on Shakespeare’s early draft of the play.
The term was designed to locate the problem in the educational system rather than in the writers themselves, the point being they were not bad writers, any more than students taking a beginning class in German were bad speakers of German —they were beginners.
A Dictionary of Literary And Thematic Terms by Edward Quinn