Comentario de Textos Literarios en Lengua Inglesa

UNIT 1
POST-STRUCTURALISM
ALLEGORY: A story, play, poem, picture, etc., in which the meaning or message is represented
symbolically.
AUTHOR: Must die in order for the reader to be born.
AUTHOR: Poststructuralist criticism challenges the category of the author as omniscient or the single
source of power in relation to a text, as an authority; meaning is not limited to, fixed by or located in the
person of the author.
AUTHOR: The solely responsible for the meaning of the literary work.
AUTHOR: The term which ordinary culture uses when referring to the person who produces a literary
work.
BINARY OPPOSITION: The principle of contrast between two mutually exclusive terms: on/off,
up/down, left/right (Baldick). Post-structuralists also argue that each term of the binary is dependent
on the other in order to constitute itself.
CAPITALISM: A system that emphasizes private initiative and individual effort and enterprise.
DEATH OF THE AUTHOR: the resistance to using information derived from the writers life or known
intentions as part of the process of interpretation since this presumes that the author imposes the final
limit on meaning and attributes to him (or her) a godlike status.
DEATH OF THE AUTHOR: The author must die in order for the reader to be born.
DECONSTRUCTION: A way of reading that aims to uncover the disunity within the text.
DECONSTRUCTION: A way of reading that notices what the writer commands and what he does not
command of the language that he uses.
DOUBLING COMMENTARY/DOUBLING THE TEXT: Reading and interpretation reproducing what the
writer thought and expressed in the text (J.Derrida).
LOGOCENTRISM: Refers to the nature of western thought, language and culture since Platos era. The
Greek signifier for word, speech and reason, logos possesses connotations in western culture for law and
truth. Hence, logocentrism refers to a culture that revolves around a central set of supposedly universal
principles or beliefs (J.Derrida).
MODERN SCRIPTOR: Differs from the Author in that he is not held to be responsible for a book in the
same way.
MODERN SCRIPTOR: Has no authority over what he writes.
MODERN SCRIPTOR: Is born simultaneously with the text.
ORDINARY CULTURE: Reads and interprets literature through its author.
PHONOCENTRISM: Depends on the association of truth with the logos as the philosophical and
theological origin of truth understood as self-revealing thought or cosmic reason... phonocentrism [is]... the
powerful idea that there is a difference between spoken words and written signs, with all the privilege being
on the side of the former (J.Derrida).
POSTSRUCTURALISM: A critical practice that look for shifts and breaks in the text and see these as
evidence of what is passed over in silence by the text.
POSTSRUCTURALISM: A critical practice that looks for hidden meanings in a text which may
contradict its surface or apparent meaning.
POSTSTRUCTURALISM: A critical practice that foreground superficial similarities in words and make
them central to the texts meaning.
POSTSTRUCTURALISM: A critical practice that reads the text against itself.
READER: Must eliminate the Author in order to liberate meaning through the act of reading.
READER: the reader and the act of reading are necessary for a text to constitute itself.
REFERENT: A term which is more or less interchangeable with signified and refers to the concept to
which the signifier is related.
SIGNIFIED: The conceptual referent of the sign (word).
SIGNIFIER: The materially identifiable element such as a sound or visible mark (meaning).
TRANSCENDENTAL SIGNIFIED: Denotes an ultimate, fixed meaning.

Elena Alonso Prez

Dylan Thomas A refusal to mourn []:

Poem
Rhyme: abc-abc
Theme: The death of a child and its wider significance
Figures:
Present participles functioning as adjectives: Fathering, humbling, tumbling:.
Metaphors: My salt seed, valley of sackcloth, a grave truth, robed in the long friends, // the
dark veins of her mother.
R.Barthes The death of the Author
J.Derrida Of grammatology:
there is nothing outside the text, doubling commentary, doubling the text

UNIT 2
NEW HISTORICISM
CO-TEXT: A historical document which is contemporary with and studied alongside a literary
document.
COMEDY: A play or literary composition written chiefly to amuse its audience by appealing to a sense
of superiority over the characters depicted with a (usually) happy ending for the leading characters.
CULTURAL MATERIALISM: A critical practice that concentrates on the interventions whereby men
and women make heir own history and situate the literary text in the political situation of our own (and
now of its own day as New Historicists do).
CULTURAL MATERIALISM: A critical practice that reads the literary text in a way as to enable us to
recover histories.
CULTURAL MATERIALISM: A critical practice that uses the technique of close textual analysis but
often employ structuralist and post-structuralist techniques.
CULTURAL MATERIALISM: A critical practice that works mainly within traditional notions of the canon.
EMPLOTMENT: The process by which a text is organized into a plot.
EMPLOTTED: Organized into a plot.
EPIC: A long narrative poem celebrating the great deeds of one or more legendary heros in a grand
ceremonious style.
EQUAL WEIGHTING: A combined interest in the textuality of history, the historicity of texts
(L.Montrose)
FICTION-MAKING: The historian bestows a particular significance upon certain historical events and
then matches them up with a precise type of plot.
MAINSTREAM LITERARY HISTORY: Old historicism, dominant historical scholarship, monological,
earlier historicism, single political vision, internally coherent and consistent, the status of historical fact,
a stable point of reference.
NARRATIVE: A set of events (The story) recounted in a process of narration (or discourse).
NARRATIVE: A telling of some true or fictitious event or connected sequence of events, recounted by a
narrator.
NEW HISTORICISM: A critical practice that gives equal weighting to literary and non-literary texts.
NEW HISTORICISM: A critical practice that insists on the textualization of reality (from Derrida) and the
premise that society is governed by the collusion between discourse and power (from Foucault).
NEW HISTORICISM: A critical practice that places literary and non-literary texts in conjunction and
interprets the former through the latter.
NEW HISTORICISM: A critical practice which looks for manifestations in text and co-text of State
power, patriarchy and colonization.
PLOT: A particular selection and reordering of the full sequence of events (story).
PLOT: The pattern of events and situations in a narrative or dramatic work.
ROMANCE: A fictional story in verse or prose that relates improbable adventures of idealized
characters in some remote or enchanted setting.

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ROMANCE: A tendency in fiction opposite to that of realism.

SATIRE: A mode of writing that exposes the failings of individuals, institutions, or
societies to ridicule and scorn.
SORY: The full sequence of events as we assume them to have occurred in their likely order,, duration
and frequency.
STORY: In modern narratology, the sequence of imagined events that we reconstruct from the actual
arrangement of a narrative.
STORY: In the everyday sense, any narrative or tale recounting a series of events.
TAILORING: Adapting the facts to a particular story form.
TRAGEDY: A serious play or novel representing the disastrous downfall of a central character, the
protagonist.
VALUE-NEUTRAL: Historical events acquire narrative value only after the historian organizes them
into a specific plot type.
VERBAL FICTIONS: A construct which is made of words and based on invention rather than reality.
Hayden White The Historical Text as Literary Artifact
How a given historical situation is to be configured depends on the historians subtlety in
matching up a specific plot structure with the set of historical events that he wishes to endow
with a meaning of a particular kind. This is essentially literary, that is to say a fiction-making
operation.
Historical events are value-neutral.
S.Greenblatt Introduction to The Power of Forms in the English Renaissance
New Historicism erodes the firm ground of both criticism and literature. It tends to ask
questions about his own methodological assumptions and those of others [] it might
encourage us t examine the ideological situation not only of Richard II but of Dover Wilson on
Richard II
Elizabeth Bishop 12 Oclock News and M. McCarthys prose extract as co-text)
Prose poem
Theme:
Armed aggression of war and its human consequences
The effects of war
The shape suggest division: items listed on the left (western, industrialized, modern) and
events described on the right (non-western, rural, backward)
Co-text:
Absence of specific context makes it easier for the reader to relate the poem to other wars,
places and people
Co-text: South Vietnam during the US air offensive (Vietnam War)
The words in the left-hand margin are connected to:
Gooseneck lamp: the full moon
Typewriter: those small, peculiarly shaped terraces
Pile of mss: white, calcareous, and shaly soil
Typed sheets: a large rectangular field [] It is dark-speckled
Envelopes: communications, industrialization, sing-boards
Ink bottle: the mysterious, oddly shaped, black structure
Typewriter eraser: the death of the unicyclist courier: he appears to be a unicyclist courier, who
may have met his end
Ashtray: the nest of soldiers lying heaped together and in hideously contorted positions, all
dead

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Figures:
Metaphors: Words in the left (objects from her desktop).
Simile: like fish scales:

UNIT 3
FEMINIST CRITICISM
ALLUSION: A reference to another work of literature or art, to a person or an event.
ANXIETY OF AUTHORSHIP: The woman authors fear that she is unable to create or that writing will
destroy her.
ANXIETY OF INFLUENCE: The male authors fear that he is not his own creator and that previous
male authors have priority over his writings.
ANXIETY OF INFLUENCE: The struggle for identity by male poets who feel threatened by the
achievements of their predecessors.
ANDROTEXTS: Books written by men (Elaine Showalter).
GYNOTEXTS: Books written by women (E. Showalter).
GYNOCENTRISM: Literally, woman-centred. In critical practice, it refers to the presumption that the reader
and the writer of a literary work are both female, and that the critical act is also aimed towards the woman
reader
ATTEMPT THE PEN: Write
CRITURE FMININE: The term for womens writing in French feminist theory. It describes how
womens writing is a specific discourse closer to the body, to emotions and to the unnameable, all of
which are repressed by the social contract.
FEMALE: A matter of biology (T. Moi)
FEMININE: A set of cultural defined characteristics (T. Moi)
FEMINIST CRITICISM: A critical practice that asks whether men and women are essentially (because
biologically) different, or whether difference is one more social construct.
FEMINIST CRITICISM: A critical practice that challenges hierarchies (power rations) in writing and in
real life with a view to breaking them down, seeing reading as a political act and exposing patriarchy.
FEMINIST CRITICISM: A critical practice that examines representations of women literature by men
and women.
FEMINIST CRITICISM: A critical practice that explores the question of whether there is a female
language or criture fminine (a feminine practice of writing) and whether men can practice that writing
too.
FEMINIST CRITICISM: A critical practice that goes back to psychoanalysis to continue exploring male
and female identity.
FEMINIST CRITICISM: A critical practice that questions constructions of women as Other, as lack,
as part of nature.
FEMINIST CRITICISM: A critical practice that re-asses womens lives (revalue women experience).
FEMINIST CRITICISM: A critical practice that re-writes the canon and seek to rediscover womenauthored texts (rethinks the canon for the rediscovering of texts written by women).
FEMINIST: A political position (Toril Moi).
GYNOCRITICS: Literally, criticism of women. The term was coined in English by Elaine Showalter to
describe a literary-critical presumption that feminist criticism would focus its attention on the works of
women writers
INTERTEXTUALITY: It refers to the ways in which all utterances (whether written or spoken) necessarily
refer to other utterances, since words and linguistic/grammatical structures pre-exist the individual speaker
and the individual speech. Intertextuality can take place consciously, as when a writer sets out to quote from
or allude to the works of another.
IMAGERY: Convers the use of language to represent objects, actions, feelings, thoughts, ideas, states
of mind and any sensory or extra-sensory experience. An image does not necessarily mean a mental
picture.
KINGLY ADMONITIONS: Stern advice uttered by a male monarch
MALE COUNTERPART: Male equivalent or complement.

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OEDIPAL STRUGGLE: (feminist criticism) The male author must kill his father in order to survive and
become his own person.
PARADIGM: Model, example.
PATRIARCHAL: A system of male authority which oppresses women through its social, political, and
economical institutions.
PERSONAE: (plural pf persona) Has come to denote the person (the I of an alter ego) who speaks in
a poem or novel or other form of literature.
SEMIOTIC (LANGUAGE): Characterized not by logical order but by displacement, slippage and
condensation which suggest a much loser and randomized way of making connections (J. Kristeva).
STEREOTYPES: Standardized, simplified and fixed conception (according to Gubert and Gilbert,
female writer is reduced to stereotypes by her male precursor).
SYMBOLIC (LANGUAGE): Associated with authority, order, fathers, repression and control; maintains
the fiction that the self is fixed and unified (Julia Kristeva).
SYNESTHESIA: The evocation of one sense in terms of another.
S. M. Gilbert and S. Gubar The Madwoman in the Attic. The Woman Writer and the NineteenthCentury Literary Imagination Infection in the Sentence: The Woman Writer and the Anxiety if
Authorship
Thus the anxiety of influence that a male poet experiences is felt by a female poet as an even
more primary anxiety of authorship: a radical fear that she cannot create, that because she can
never become precursor the act of writing will isolate or destroy her.
Male precursors reduce the female poet to stereotypes, such as angel or monster.
Elizabeth Bishop Roosters
Poem
three-line stanzas (tercet) with only one rhyme
Theme: the oppression and violence of patriarchal culture
The behavior of the roosters is portrayed in aggressive, warlike terms, with the birds
themselves compared to bellicose (and male) officers and brutal military personnel.
The wives or hens are portrayed as passive, unintelligent and emotional beings.
Colors associated with a masculine hierarchy, military or otherwise: gun-meta blue, green-gold
(medals), (crown of) red, metallic.
Figures:
Metaphors: The sun climbs in, wandering lines in a marble
Synesthesia: gliding the tiny/floating swallows belly/and lines of pink cloud in the sky marries
the visual to the tactile.
Simile: grates like a wet match, like wandering lines in a marble

UNIT 4
GENDER AND QUEER STUDIES
(BLACK-WOMAN) INVISIBILITY: Black womens existence, experience and culture and the brutally
complex systems of oppression which shape these (B.Smith).
ACADEMIC JOURNALS: Learned magazines which publish scholarly articles.
AGEISM: A term which refers to the systematic stereotyping of and discrimination against people
because they are old.
BLACK-WOMAN IDENTIFIED ART: Art which focuses on, is inspired by and gives the perspective of
Black women.
COMPULSORY HETEROSEXUALITY: A term in radical and lesbian theory for the enforcement of
heterosexuality. It includes the ideological and political control of womens sexuality

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COMPULSORY HETEROSEXUALITY: The main mechanism underlying and perpetuating male

dominance (Adrienne Rich).
DISEMPOWER: Weakens, removes power from (in this case, women).
GALLING: (adj.) Causes extreme indignation, irritation, annoyance.
GENDER STUDIES: The study of gender as an analytical reference.
GENDER: Denotes the cultural constitution of femininity or masculinity, the notions concerning what is
appropriate to either gender, and the ways in which these serve ideologically to maintain gendered
identities.
HETEROCENTRITY: The belief that heterosexuality is the only normal mode of sexual and social
relations.
HETEROCENTRITY: The practice of viewing reality (or human relations) from a heterosexual
perspective.
LESBIAN CONTINUUM: Term that avoid the clinical ring of lesbianism asn refers to all experiences
shared by women, experiences that strengthen bonds among themselves and against male
oppression.
LESBIAN EXISTENCE: Term that avoid the clinical ring of lesbianism and refers to the actual
presence of lesbians, past and present
LESBIAN/GAY CRITICISM: A critical practice in which the defining feature is making sexual orientation
a fundamental category of analysis and understanding.
LESBIAN/GAY CRITICISM: A critical practice that creates an alternative canon of lesbian/gay writers
works.
LESBIAN/GAY CRITICISM: A critical practice that equates the sense of being lesbian or gay with the
metaphorical transgression of boundaries or limits of the normal.
LESBIAN/GAY CRITICISM: A critical practice that exposes homosexual characteristics of standard
literary works.
LESBIAN/GAY CRITICISM: A critical practice that focuses on literary genres which have strongly
shaped western standards of masculinity or femininity.
LESBIAN/GAY CRITICISM: A critical practice that reveals the homophobia of standard literature and
criticism which suppress certain explicitly homosexual material or simply fail to study it.
LESBIAN/GAY CRITICISM: A critical practice that selects lesbian/gay passages in standard literary
works and analyze them as such.
MALE RIGHT OF ACCESS: The moral and legal privilege to intervene in all aspects of a womans life.
NUMBING: (v. numb) To remove all sensations from; to paralyze, stupefy.
OBLIVIOUS: Ignorant of, blind or insensitive towards.
OSTENSIBLE FEMINISTS: Apparent seeming, not real feminists (Barbara Smith).
OVERWHELMING: (v. overwhelm) To overpower with emotion, bury or drown beneath a huge mass,
submerge utterly.
QUEER THEORY (OR QUEER STUDIES): A critical practice that rejects female separatism and istead
sees an identity of political and social interests with gay men. T he term is intended to mark a critical
distance from the earlier and marginalized gay and lesbian.
RACIAL POLITICS: The political character of race which is based on the unequal power of white-black
relations.
SEXUAL POLITICS: The political character of sexuality which is based on the unequal power of sexual
relations.
WOMAN IDENTIFICATION: To feel an identification with women (as opposed to men).
Adrienne Rich Compulsory Heterosexuality and Lesbian Existence
I have chosen to use the terms lesbian existence and lesbian continuum because the word
lesbianism has a clinical and limiting ring
To equate lesbian existence with male homosexuality because each is stigmatized is to erase
female reality once again

Elena Alonso Prez

Barbara Smith Toward a Black Feminist Criticism

Black woman writers and Black lesbian writers exist
Both sexual and racial politics and Black and female identity are inextricable elements in Black
womens writings [...]
Black women writers manifest common approaches to the act of creating literature as a direct
result of the specific political, social and economic experience they have been obliged share.
Black feminist criticism would by definition be highly innovative
Elizabeth Bishop In the Waiting Room
Poem
First person voice
Rhyme and metre: irregular
Theme:
The speakers moment of recognition of her identity and place in the world (a youngs girl
moment of self-recognition).
Located in a dentist waiting room.
Any preference for women is not openly declared; at best, it is implied.
Self-recognition is prompted by certain sensory experiences:
Looking at photographs in an old National Geographic magazine 8erupting volcanoes,
explorers Osa and Martin Johnson, bare-breasted African women
Hearing her aunts cry of pain from within the dentist office.
The poem expresses her confusion as much as it does her new found sense of self.
Hostility to compulsory heterosexuality (M.Ryan):
Images from the NG magazine arouse strong feelings in the girl: fear, disgust, restriction of
movement, pain, torture...
Male dentist as male domination (aunt accepting her traditional female role).
Negative response to men (man on the pole is dead / dentist causes pain).

UNIT 5
ETHNIC AND POST-COLONIAL STUDIES
ANTITHESIS: Contrast or opposition between two things.
ANTITHESIS: The direct opposite.
COLONIALISM: The direct political control of one country or society by another and refers first of all to
historical episodes, like the long history of British rule in India.
CONTESTANT: Someone who takes part in a dispute or challenge.
CULTURAL CONTESTANT: Historically, the Orient has challenged or rivaled the West in cultural
terms (E.Said).
DISCOURSE: An instance of language or utterance that involves the speaker/writer-subject and
listener/reader-object. Foucault argued that discourse colludes with power.
ENDORSE: To confirm, to declare support or approval of.
ETHNIC STUDIES: A critical approach to literature which challenges the universality of white discourse
and standards.
FOIL: A person or thing that enhances the qualities of another by contrast
IMAGINARY ORIENT: Represents one of the Wests most deep-rooted and persistent images of the
Other
MATERIAL ORIENT: Is a form of discourse supported by institutions, language, academic study,
principles, bureaucracy and a certain way of doing things (style).

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ORIENTALISM: An academic meaning through its doctrines and theses about the Orient and the
Oriental (E. Said).
ORIENTALISM: The corporate institution or Western Style for controlling and shaping the Orient
(Said).
ORIENTALISM: The distinction between the Orient and the Occident, East and West (E. Said).
ORIENTALISM: The ensemble of western, usually though not exclusively European discourses and
other forms of representation of non-western cultures (E. Said).
OTHER/OTHERNESS: Term that names the quality or state of existence of being other or different
from established norms and social groups.
OTHER/OTHERNESS: The distinction that one makes between ones self and others, particularly in
terms of sexual, ethnic and relational senses of difference.
POST-COLONIAL LITERATURE: Centers on the conflicts and contradictions, as well as the
advantages and sense of liberation, that accompany life as an individual in a postcolonial state.
POST-COLONIALISM: A critical practice which stresses and examines cultural difference and diversity
in literature.
POST-COLONIAL CRITICISM: A critical practice that refutes the claim that mainstream Western
literature is somehow universal and stress its limited perspective and blindness to cultural and ethnic
specifities.
POST-COLONIAL CRITICISM: A critical practice that examines the representation of other cultures in
literature as a way of achieving this end.
POST-COLONIAL CRITICISM: A critical practice that looks therefore at how other cultures are
represented in literature.
SURROGATE: (n.) Substitute.
TO GET THE BETTER OF: Overcome, defeat.
VAUNTED: (adj. from v. to vaunt) To boast, to brag (synonyms: boastful, swaggering).
WESTERN DESIRE AND NEED: The desire and need of the West to use the African continent to
emphasize its own state of grace.
WESTERN DESIRE AND NEED: The desire in Western psychology to set Africa up as a foil to
Europe.
P. Barry: Three phases of post-colonial literatures:
Adopt: the writers ambition is to adopt the form as it stands assuming that it has universal
validity.
Adapt: it aims to adapt the European form to African subject matter, thus assuming partial rights
of intervention in the genre.
Adept: its characteristic is the assumption that the colonial writer is an independent adept in the
form, not a humble apprentice (as in the first phase) or a mere licensee (as in the second).
Chinua Achebe An Image of Africa: Racism in Conrads Heart of Darkness
Conrads portrayal of Africans is not a portrayal at all, but a place which eliminates the African
as human factor
Africa as the antithesis of Europe: River Congo and River Thames, White men and Black men,
etc.
Joseph Conrad was a thoroughgoing racist
Africa as setting and backdrop which eliminates the African as human factor. Africa as a
metaphysical battlefield devoid of all recognizable humanity, into which the wandering
European enters at his peril.
Edward Said Orientalism
Perhaps the most important task of all would be to undertake studies in contemporary
alternatives to Orientalism, to ask how one can study other cultures and peoples from a
libertarian, or a non-repressive and non-manipulative perspective.
[...] society and literary culture can only be understood and studied together.

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Joseph Conrad Heart of Darkness

Prose fiction novella
A narrator behind a narrator
Plot:

Centers around Marlow and his journey up the Congo River to meet Kurtz. Marlow takes a job
as a riverboat captain with the Company, a Belgian concern organized to trade in the Congo.
As he travels to Africa and then up to the Congo, Marlow encounters widespread inefficiency
and brutality in the Companys stations. The native inhabitants of the region have been forced
into the Companys service, and they suffer terribly from overwork and ill treatment at the
hands of the Companys agents. The cruelty and squalor of imperial enterprise contrasts
sharply with the impassive and majestic jungle that surrounds the white mans settlements.

Central themes:
The untrustworthiness of appearances
The nature of truth
The moral/spiritual journey
The lack of humanity towards other humans
The terms used by Marlow portray a place which is as far removed from Western notions of civilization
as it is possible to be: prehistoric, the inhabitants themselves seem hardly human (they yell, move in a
whirl of black limbs and express themselves through an incompressible frenzy). The language is
overwhelmingly negative, revealing the narrators fear and mistrust of the physical and human
environment.
Marlow condemns the white mans colonial enterprise, comparing it to something devil-like.
Ryan: (about Heart of Darkness) If you are white, you will probably think Conrads work is a critique of
Western expansionism and colonialism. But, if you are black, you are likely to think the work is racist.

Toni Morrison The bluest Eye

Main themes:
The psychological and physical abuse of a young girl and its impact
The consequences of white supremacy
Subjective perception versus objective perception
Sexual (and psychological) abuse
Resistance to all of these
Coming of age: reaching sexual maturity and knowledge
Characters
Pecola Breedlove - protagonist of the novel, an 11 year old girl who is raped by her father and
becomes pregnant as a result. Pecola gets the idea that if she can change her eyes from
brown to blue, she will solve all her problems.
Claudia - the narrator of p
arts of the novel. She is 9 years old, almost the same age as Pecola during the action of the
novel. The narration, however, occurs when Claudia is an adult, remembering back on her
childhood.
Frieda - Claudias 10 year old sister, who does everything with her and is kind to her when her
mother is gruff.
Mrs. MacTeer - Claudias mother, an overworked, very poor woman, who has little time for
tender care of her daughters, but who does manage to fulfill her duties as a mother, providing
shelter, food, and the amount of sick care for which she has the energy. Her dominant parental
tool is to shame her daughters for being so much trouble.
Mrs. Breedlove - Pauline "Polly" Williams Breedlove, Pecolas mother, who moved to Lorain,

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Ohio from Kentucky, but was born in Alabama. She works as a housekeeper for the Fisher
family.
Mr. Breedlove - Cholly Pecolas father, who is impulsive and violentfree, but in a dangerous
way. Having suffered early humiliations, he takes out his frustration on the women in his life. He
is capable of both tenderness and rage, but as the story unfolds, rage increasingly dominates.

Elena Alonso Prez

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