British Literature Final Exam

Front 1

Modernism

Back 1

Early 1900's through 1965
World Wars impact

Hint 1

Modernity
Modernist

Front 2

Post Colonialism

Back 2

as epistemology, ethics, and politics – addresses matters of identity, gender, race, racism and ethnicity with the challenges of developing a post-colonial national identity, of how a colonized people's knowledge was used against them in service of the colonizer's interests, and of how knowledge about the world is generated under specific relations between the powerful and the powerless, circulated repetitively and finally legitimated in service to certain imperial interests. At the same time, postcolonial theory encourages thought about the colonist's creative resistance to the colonizer and how that resistance complicates and gives texture to European imperial colonial projects, which utilized a range of strategies, including anti-conquest narratives, to legitimize their dominance.

Hint 2

Duality/Doublness: Self contradiction: the conscious making of self-undermining statements. Self-reference and self-reflexiveness.
Hybrid Identity and Hybrid Culture: always a changed, a reclaimed but hybrid identity, which is created or called forth by the colonizeds' attempts to constitute and represent identity. The very concepts of nationality and identity may be difficult to conceive or convey in the cultural traditions of colonized peoples.
Resistance: Postcolonial theory is also built around the concept of resistance, of resistance as subversion, or opposition, or mimicry -- but with the haunting problem that resistance always inscribes the resisted into the texture of the resisting: it is a two-edged sword. As well, the concept of resistance carries with it or can carry with it ideas about human freedom, liberty, identity, individuality, etc., which ideas may not have been held, or held in the same way, in the colonized culture's view of humankind.

Front 3

Post Modernism

Back 3

Post Modernism: Post-Modernism: a general term applied to the changes in literature and art since the second World War. The literature tends to be non-traditional and against authority. Development of marxist, feminist, and psychoanalytic criticism since the 1970's is another aspect of post-modernism. Some argue that post-modernism is understood /expressed only through the lens of contemporary American culture.

Hint 3

Ecclecticism - taking many things and putting together
Self-Contridiction -
Crossing Borders - colonialism
Otherness - reflect', but perhaps more accurately refract, England's growing engagement (commercial, diplomatic, cultural) with the wider world in the second half of the sixteenth century, arguably registering a heightened consciousness at home of what such encounters might mean. This module examines how this cultural engagement with various 'others' operates, and what it might tell us about Early Modern perceptions of race, religion, and gender – how, that is, the structuring principle of difference articulates notions of 'identity' and 'otherness'.

Front 4

Symbolism

Back 4

practice of representing things by symbols, or of investing things with a symbolic meaning or character.[1] A symbol is an object, action, or idea that represents something other than itself, often of a more abstract nature.

Hint 4

Alienation - Identity
Fragmentation - Being in to worlds, colonialism vs. British identity, male and female, etc.
Skepticism - Of culture, identiy, government, etc.

Front 5

Villanelle

Back 5

A villanelle is a poetic form that entered English-language poetry in the 19th century from the imitation of French models. Two rhyme sounds. The first and third lines of the first stanza are rhyming refrains that alternate as the third line in each successive stanza and form a couplet at the close. Nineteen lines long, consisting of five tercets and one concluding quatrain. Because of its non-linear structure, the villanelle resists narrative development. Villanelles do not tell a story or establish a conversational tone.
Refrain 1 (A1)
Line 2 (b)
Refrain 2 (A2)
Line 4 (a)
Line 5 (b)
Refrain 1 (A1)
Line 7 (a)
Line 8 (b)
Refrain 2 (A2)
Line 10 (a)
Line 11 (b)
Refrain 1 (A1)
Line 13 (a)
Line 14 (b)
Refrain 2 (A2)
Line 16 (a)
Line 17 (b)
Refrain 1 (A1)
Refrain 2 (A2)

Hint 5

examples: Do Not Go Gentle, Dylan Thomas