Literary Theory, Communication Modes, and Dramatic Forms

Convergence and Divergence in Literary Interpretation

A coincidence in interpretations is called **convergence**; the discrepancy is **divergence**. This phenomenon occurs when characters, themes, or situations are treated by a number of authors in a similar, common way. Divergence occurs in the recreation and modification that the author makes regarding the location, character, and so on.

Media Convergence and Divergence (MCM)

Convergence or divergence is often treated as a fact or a situational function dependent on the editorial line of each media outlet.

Literary Descriptions and Their Roles

A) Description’s Role as Object

  • Self-Description: The author’s description of themselves.
  • Prosopography: External description of people (physical appearance, costumes).
  • Etopeya: Description of the character or conduct of persons.
  • Topography: Description of a place.

B) Descriptions According to Purpose

1. Utility Descriptions

Utility descriptions use clear, technical, precise, complete, and ordered language.

  • Technical: Displays the characteristics of a product.
  • Scientific: Provides objective information about objects, phenomena, and processes in science.
  • Reference/Informative: Aims to inform with divulgative goals.
  • Persuasive: Displays environments or objects with the clear purpose of influencing the reader.

2. Literary Descriptions

Literary descriptions seek to provoke aesthetic impressions or feelings in the reader, often using connotative language.

  • Explicit: Objective, where importance lies in the object causing sensations.
  • Ambiguous: Subjective, allowing each reader to interpret it in their own way, provoking feelings.

Verbal, Paraverbal, and Non-Verbal Elements

  • Verbal: Language resources used in written and oral statements, spoken words in sentences and enunciations.
  • Paraverbal: Inflections in the voice (volume and tone), pauses, silences, and rhythm of speech.
  • Non-Verbal:
    • Kinesics: Corporal expressions, changes in position, hand movements, gestures, etc.
    • Proxemics: Physical placement relative to viewers, proximity, or distance.

Methods of Paragraph Organization

  • Cause/Consequence: Presentation of information where the latest point directly matches the cause or consequence of a particular genre.
  • Descriptive Enumeration: Filing a series of traits or characteristics that the latest point directly intends to describe.
  • Concept/Development: States the concept in question and then reaffirms it through secondary ideas.

The Gothic Novel

The Gothic Novel arose during Romanticism in 1764, driven by:

  • Fascination with the supernatural and the terrible.
  • A moment when it was impossible to oppose reason.
  • The dismal evocation of the medieval world, in opposition to the pretensions of Neoclassical order.
  • Supernatural horror.

Edgar Allan Poe and Fairy Gothic

Edgar Allan Poe breaks through the territory of madness and psychological terror.

Epic Theater and Bertolt Brecht

Dramaturg Bertolt Brecht conceived of a different kind of theater, characterized by its **training function**, creating a tool for teaching the masses. This theater should not merely show a reality, but also provide criteria for judgment.

The Didactic Function of Epic Works

The Distancing Effect (Verfremdungseffekt)

This effect is achieved through various narrative devices to ensure the viewer is **emotionally distanced** from what is represented on stage (without affective involvement). This allows the viewer to reflect critically and reach their own conclusions and solutions regarding the conflict presented.

Definition of Epic Theater

Epic Theater strives to show the major problems of humanity, aiming to alter the status quo by stripping bare competing social forces, with the goal of transforming society.

Narrative Resources for Distancing

Narrative resources used to achieve distance include:

  • Incorporation of a narrator.
  • The use or presence of placards/cartels.
  • Inciting the public to reflection through narrative elements, so the audience can look at the problem from the outside, exercising their own critical capacity.