Puritan idea of the dignity of ordinary human labour -> novelist’s general belief that daily life was of sufficient interest to be worth writing about. Needed secular milieu for the action of a novel depends not on divine intervention but on the exercise of choice by ordinary human beings. Change in 18th C – women started to choose partners -> genre that took as its centre courtship leading to marriage. Female chastity which ended in a virtuous marriage. It was to be the leitmotif of every novel imto the 20th C. But also the sexual imagination could be expressed. Daniel Defoe: Robinson Crusoe – story of a man cut adrift from civilisation, rugged economic individualism and a record of an inner life. Survival – key theme to Defoe’s three novels. Moll Flanders – Moll spiralsup and down driven by a desire for money and the maintenance of her genteel status. A Journal of the Plague Year – graphically reconstructs the terrible events of 1665.
2 The oratorio consists of 38 sections arranged into 5 scenes. The dramatic tension of the work is shown through the contrasting heavenly and mundane forces. The essential message of Jonah to the people is to lead a pious, pure life and to surrender oneself to God’s will. The composer was seized by the character of Jonah and saw him as a symbol of moral resistance of a minority to the rulers of Nineveh. And the prophet fulfils his mission. Example 6. Leitmotif of God. Example 7. Leitmotif of Jonah. In 1910 Tobias wrote: Ecclesiastical music exists and is a powerful agent that every serious musician must take into consideration, whether he wishes it or not. Mystical threads are invisibly connecting musical art and the religious world proceeding between superhuman and mysticism. The composers of today are lacking the organ of interest in transcendental matters, but in most cases they have not found timely contents for traditional forms of sacred music. 3 1 26 Nov
but nevertheless serious reconsiderations of gender and sexual identity--particularly what it means to be lesbian--as well as to the relativity of existence, desire, and time. These imaginative narratives, which incorporate biblical themes and elements of myth and fairy tale, often feature cross-dressing, promiscuous, and sexually ambiguous characters. Winterson's use of the line "Trust me, I'm telling you stories" as a refrain and leitmotif in The Passion has taken on emblematic meaning for her fiction in general. Steeped in literary classics and impassioned by the ideas and work of the Modernist writers from the early twentieth century, Winterson writes fiction that attempts to pick up where the Modernists left off, creating new space for literary fiction and its readers. Winterson's postmodernism: gender blending, identity as a construct. Jeanette Winterson blurs
reaalsuse kujutamise viisist realistlikus proosas. Narratiivne ülesehitu snõrgeneb. Mod. reaalsuses on kogemus mitmekihiline, vihjeline ja katkendlik; selle väljunditeks mod. proosas on fragmenteeritus, vastandlikkus, teatud motiividele keskendumine (letimotif: teatud motiivide, sümbolite ja kujundite variatsioonidega kordamine), sümbolid, allusioonid, interteksuaalsed viited (vihjed kirjanduslikele eeskujudele, nende imiteerimine), müütiliste arhetüüpide kasutamine Leitmotif /Joyce: pruun värv kui Dublini lagunemise või halvatuse märk, läbib kogu loomingut, näit. Dublinlased: Härra Browne. Fitzgeraldi Suur Gatsby: Sädelusega seotud sõnad ja kujundid. Tihe keel ka keelega mängimine. ei käsitleta enam kui läbipaistvat meediumit mis õigesti tarvitatuna laseb reaalsust (läbi) näha, keelt käsitletakse keeruka ning nüansirikka locusena, kus pannakse kokku `tegelikkus'; keel on tihe, läbipaistmatu,
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