Cambridge Pre-U English Literature (Principal Subject) Flashcards

24 sample cards from the English Literature (Principal Subject) deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What are the classical 'three unities' of drama, and which playwrights observe or reject them?

   Unity of action (one main plot), time (within roughly one day), and place (one location). Derived from neoclassical readings of Aristotle, they were largely IGNORED by Shakespeare but respected by French neoclassical dramatists like Racine.

2. What is the role of the dramatic 'chorus' in classical and some later drama?

   The chorus is a group (or single figure) that comments on the action, provides context, voices communal or moral perspective, and bridges audience and play. Shakespeare uses a Chorus figure in Henry V and Romeo and Juliet's prologue.

3. What defines the genre of revenge tragedy in English drama?

   A protagonist seeks vengeance for a wrong (often a murder), featuring a ghost, madness (real or feigned), a play-within-a-play, escalating violence, and a bloody conclusion. Examples: Kyd's 'The Spanish Tragedy' and Shakespeare's 'Hamlet'.

4. What is the 'fourth wall', and what does it mean to 'break' it?

   The fourth wall is the imaginary barrier between actors and audience through which the audience watches. Breaking it means a character directly acknowledges or addresses the audience, shattering theatrical illusion.

5. Summarise Brecht's concept of the 'alienation effect' (Verfremdungseffekt) in modern drama.

   A set of techniques (direct address, placards, songs, visible staging) designed to prevent emotional immersion, keeping the audience critically distanced so they judge the social/political content rather than empathise passively.

6. What is the 'Theatre of the Absurd', and name a key playwright.

   A post-war movement (1950s–60s) presenting a meaningless, irrational universe through illogical situations, circular dialogue, and broken language, reflecting existentialist despair. Samuel Beckett ('Waiting for Godot') is a central figure.

7. Define 'naturalism' as a mode in modern drama.

   Naturalism depicts everyday life with scientific objectivity, emphasising the influence of heredity, environment, and social forces on character. Associated with Ibsen, Chekhov, and Zola's theories; it favours plausible settings and ordinary speech.

8. What is the 'well-made play' (pièce bien faite) structure?

   A tightly plotted play built on careful exposition, rising tension through complications and reversals, a climactic scène à faire (obligatory scene), and logical resolution, often involving secrets and a withheld letter or object.

9. What is 'stichomythia' in drama?

   Rapid, alternating single-line dialogue between two characters, often used for sharp confrontation, argument, or heightened emotional exchange (e.g. Hamlet's exchanges with Gertrude).

10. When critically interpreting a play in performance, what production elements should be analysed?

    Staging and set, lighting, costume, blocking and movement, casting, pace, sound/music, audience configuration, and directorial choices — all of which shape meaning beyond the words on the page.

11. What is the distinction between 'plot' and 'story' (fabula vs syuzhet) in narrative theory?

    Story (fabula) is the chronological sequence of all events; plot (syuzhet) is the arrangement and presentation of those events in the text, including reordering, gaps, and emphasis chosen by the author.

12. Define the difference between first-person, third-person limited, and third-person omniscient narration.

    First-person: a character narrates as 'I', limited to their knowledge. Third-person limited: an external narrator follows one character's perspective. Third-person omniscient: an all-knowing narrator accesses any character's thoughts and events.

13. What is an 'unreliable narrator'?

    A narrator whose account cannot be fully trusted — due to bias, naivety, mental state, self-interest, or deception — requiring the reader to read against the narration to infer the actual situation.

14. Define 'bildungsroman'.

    A 'novel of formation' tracing the psychological and moral growth of a protagonist from youth to maturity (e.g. 'Great Expectations', 'Jane Eyre'). It centres on education, identity-formation, and entry into society.

15. What is the 'epistolary novel'?

    A novel told through documents such as letters, diary entries, or emails, giving multiple immediate first-person perspectives and an illusion of authenticity (e.g. Richardson's 'Pamela', Stoker's 'Dracula').

16. In comparative prose study, what is meant by analysing 'narrative perspective' across two texts?

    Examining how each text's choice of narrator, focalisation, distance, and reliability shapes sympathy, knowledge, and meaning — then comparing the EFFECTS these differing perspectives produce on the reader.

17. What is 'intertextuality'?

    The shaping of a text's meaning by its relationships to other texts — through allusion, quotation, parody, or echo — so that texts are understood as part of a wider web of literature rather than in isolation.

18. Why is 'contextual reading' important, and what kinds of context matter?

    Context illuminates how a work was produced and received. Relevant contexts include biographical, historical/political, social, literary/generic, philosophical/religious, and reception context — but should illuminate the text, not replace close analysis.

19. Summarise the central concern of feminist literary criticism.

    It examines how literature represents gender, exposes patriarchal assumptions and the silencing or marginalising of women, reclaims neglected female writers, and analyses how texts construct femininity and masculinity. Key figures include Showalter and Gilbert & Gubar.

20. What is Marxist literary criticism concerned with?

    It reads literature in relation to class, economics, power, and ideology, exploring how texts reflect, reinforce, or resist the material conditions and class structures of their society. Associated with Eagleton and the base/superstructure model.

21. Outline the key idea of psychoanalytic criticism.

    Drawing on Freud (and Lacan), it interprets texts in terms of unconscious desire, repression, dreams, and symbols, analysing characters', authors', or readers' psychology — e.g. Oedipal readings of Hamlet.

22. What does post-colonial criticism examine, and name a key theorist?

    It analyses literature's relationship to empire, colonisation, and its aftermath — questions of 'othering', identity, hybridity, and the representation of colonised peoples. Edward Said ('Orientalism') is foundational, alongside Spivak and Bhabha.

23. What is 'the death of the author' (Barthes), and how does it relate to reader-response criticism?

    Barthes argued that a text's meaning is not fixed by the author's intention but generated by the reader. Reader-response theory similarly locates meaning in the interaction between text and reader rather than in authorial design.

24. What is required in the Pre-U Personal Investigation, and how should a critical line of argument be sustained in it?

    An independently chosen comparative study of texts producing a sustained, argued essay. It should advance a clear thesis, integrate close textual analysis with apt critical and contextual material, and approach an unseen critical commentary by reading closely, identifying form, language, structure, and tone, and building an organised argument about the passage's effect and meaning.

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