Topic outline

  • COMPARATIVE LITERATURE

    What is comparative Literature? | EssayBiz

    • Introduction

      The Crisis of Comparative Literature 

      1.    The French School                                          

             The Concept of Influence 

       a. "Literary" and "Non-literary" Influence b. "Direct" and "Indirect" Influence       

             The Concept of "Reception"                                  

             The Concept of "Imitation" and "Borrowing"

             "Positive" and "Passive" Influence

             1. Literary Schools and Genres     

             2. Ideological Echoes                  

             3. Image Echoes                         

             4. Verbal Echoes                         

             5. Human Models and Heroes      

      2.    The American School                   

             1. The "Parallelism" Theory         

             2. The "Intertextuality" Theory      

      3. Comparative Literature Beyond  the Euro-American Frontiers 

  • Introduction & The Crisis of Comparative Literature

  • The French School

  • The American School

  • Comparative Literature Beyond the Euro- American Frontiers

  • Further Reading

    •  Answer the following questions:

      • Comparative literature has first emerged in France ........

        Around the beginning of the seventeenth century

        around the beginning of the eighteenth century

        around the beginning of the nineteenth century

        around the beginning of the twentieth century

      • According to American critics, French school concept of comparative literature

        has a determination of method

        has an idealistic methodology

        gives limited scope to 'general literature'

        is colored by binary studies

      • According to the French comparatists, the movement of an idea, a theme, or an image from a literary text to another is called.................

        Reception

        literary influence

        borrowing

        non-literary influence

      • French comparatists believe that...........

        Direct influence needs no documentary information

        there can never be indirect influence

        indirect influence can take place through translations

        influence can never exist between two different writers

      • French comparatists believe that...........

        The reception of a foreign work means that it is a sign of 'positive influence'

        there is no difference between 'influence' and 'reception'

        'influence' can be taken as a step on the road to 'reception'

        'reception' can be taken as a step on the road to 'influence'

      • The founding father of the American school of comparative literature is..................

        Tieghem

        Jean Marie Carre

        Henry Remak

        Baudelaire

      • American school comparatists believe that.............

        comparative literature should be regarded as a discipline on its own

        there can never be a comparative study between literature and other fields of cognition

        comparison can be made between two or more different literatures and between literature and other disciplines

        comparative literature can never connect different subject areas

      • Parallelism refers to..................

        affinities between the literatures of different people regardless of direct relations

        affinities between the literary works in a certain nation

        the reference of a text to another

        direct relation and mutual influence between texts

      • intertextuality refers to.....................

        A particular theme, story or myth that can be repeated in different ways

        the impossibility that a writer blends another text into his own

        references inside the text itself

        a specific approach of reading and interpreting a text

      • Salah Abdul-Sabur does not show much interest in myths. Instead, he uses ............. to link the past with the present

        visual imagery

        historical figures

        myths

        impersonality