Critical theory
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1) The document discusses several critical theory works and concepts, including Virginia Woolf's A Room of One's Own, Edward Said's Orientalism, and Elaine Showalter's stages of feminist criticism. 2) Woolf's work discusses the need for women to have financial independence and a private space in order to write. Said's Orientalism examines how Europeans viewed Middle Eastern and Asian cultures as exotic and inferior. 3) Showalter outlines three phases of feminist criticism: imitation of male perspectives, protest against stereotypes, and independence. The document analyzes key passages and ideas from these influential critical works.
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The document traces the major theories of poetry from Plato to the modern era. It discusses Plato's attack on poetry and drama, Aristotle's defense of poetry in Poetics, Sidney and Dryden upholding poetry, Johnson arguing poetry should instruct through pleasure. Wordsworth introduced poetry reflecting common life and emotions. Eliot developed the impersonal theory of poetry. Later approaches included moral, psychological, sociological, formalistic and archetypal analysis. The document ends noting the shift to post-structuralism, new historicism, postcolonialism, feminism, and the current post-truth era.
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Plato viewed art as inferior copies of ideal forms and a threat to social order. Aristotle saw art as conveying truth through concrete examples and changing forms. Horace said art should be both sweet and useful. Sir Philip Sidney and Sir Francis Bacon viewed art as providing instruction and pleasure by presenting an idealized version of reality. Later critics like Samuel Johnson assessed art based on its moral message and effects. Matthew Arnold felt criticism should objectively judge literary quality.
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Wordsworth believed poetry arises from powerful emotions that are recollected later in a state of tranquility. He argued poetry should use everyday language that ordinary people use rather than ornate poetic language. He wanted poetry to reflect the human experience and relationship with nature. Poetry should describe simple subjects and situations that are easily understood and remembered. A poet is an ordinary person who experiences strong feelings and can vividly recall those emotions later to convey them to others through their writing.
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- Romantic literary criticism was developed by William Wordsworth and Samuel Taylor Coleridge in works like Lyrical Ballads and Biographia Literaria.
- They shifted attention from poetry reflecting reality to the poet's expression of emotions and relationship to their work. Poetry became an expressive rather than mimetic art.
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Northrop Frye's "Archetypal Criticism"
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Plato as a literary critic
Plato was an influential ancient Greek philosopher who criticized poetry and the arts. He believed that poetry was just an imitation of reality, not reality itself, since poets were inspired by gods rather than rational thought. Plato attacked poetry on moral, intellectual, emotional and utilitarian grounds. He argued that poetry did not promote social morality or truth, lacked restraint, and served no useful purpose. Overall, Plato introduced the concept of mimesis, or imitation, as key to understanding art, and stated classical ideals of beauty, though he was highly critical of poetry's rationality and moral influence.
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The document discusses different theories of poetry from classical philosophers like Plato and Aristotle and poets like Wordsworth. It traces concepts of poetry from its banishment by Plato as morally corrupting to Aristotle's view of it as using fictional examples to purify emotions. Wordsworth's definition of poetry as the "spontaneous overflow of powerful feelings" is also examined, along with his view of the poetic process. The document concludes that Wordsworth redefined poetry by going back to its origins while building on concepts from Coleridge and classical philosophers.
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2. poetry as criticism of life
Matthew Arnold defines poetry as a "criticism of life" that addresses life's problems under conditions of poetic truth and beauty. Poetry must have a noble and profound application of ideas to real life. It is a superior form of knowledge to philosophy, science, and religion because it provides a sound representation of life and ideas without falsifying facts. To Arnold, the greatest poetry, like that of Homer, Dante, and Milton, has high seriousness that gives their criticism of life profound power through absolute sincerity.
Northrop Frye's Archetype of Literature
Northrop Frye's theory of archetypes defines archetypes as recurring symbols or images in literature that can be recognized across works. Frye believed that by plotting important aspects of stories, patterns or archetypes would emerge that stories may diverge from but can be used to understand literature. He asserted that all narratives fall into four categories - comedy, romance, tragedy, and satire - each with six phases that overlap the categories before and after. Frye also linked these categories to seasons and explored how symbols are interpreted differently depending on the narrative category, such as animals being docile in comedy and predatory in tragedy.
3. matthew arnold on grand style
Matthew Arnold defined the "grand style" as a highly ornamented poetic style that arises when a poetically gifted person with a noble character treats a serious subject with simplicity or severity. According to Arnold, the greatest practitioners of the grand style were Homer, Dante, and Milton. Arnold described the grand style as requiring a noble poet to choose a serious subject and treat it with either simplicity or severity through devices like metaphors, similes, and personification.
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Critical theory
- 1. CRITICAL THEORY Presented By Garret Raja Immanuel St.John’s College, Palayamkottai.
- 2. WHAT SHOULD WE FOCUS? (FOR NET) 3 Phases of Question Pattern 1st Phase – 2004 to 2010 2nd Phase – 2011 to 2014 3rd Phase – 2015 to 2017
- 3. 1ST PHASE
- 4. 1ST PHASE
- 5. 1ST PHASE 1)Author – Work Name 2)Critic – Concept (Key Term)
- 6. 2ND PHASE
- 7. 2ND PHASE
- 8. 2ND PHASE
- 9. 2ND PHASE
- 10. 2ND PHASE 1)YEARS OF CRITICAL WORKS 2)DEFINITION /CHARACTERISTICS OF SCHOOL
- 11. 3RD PHASE
- 12. 3RD PHASE
- 13. 3RD PHASE
- 14. 3RD PHASE
- 15. 3RD PHASE
- 16. 3RD PHASE 1)WITH IN THE CRITICAL WORK 2)QUOTES OF CRITICS FROM WORKS
- 17. A ROOM OF ONE’S OWN • A Room of One's Own is an extended essay by Virginia Woolf. • She was asked to give a lecture on “Women and Fiction”.
- 18. •According to Woolf "a woman must have money and a room of her own if she is to write fiction"
- 19. PARTLY-FICTIONALIZED "call me Mary Beton, Mary Seton, Mary Carmichael or by any name you please—it is not a matter of any importance“. OXBRIDGE (Fictional University)
- 20. Thinking = Fishing Idea or Thought = Fish Grass – Only for Scholars and Fellows Gravel Path - Women
- 21. • “ladies are only admitted to the library if accompanied by a Fellow of the College or furnished with a letter of introduction." •Thinks about the lunch that was served at the college. • "a cat without a tail" – Lacking in Lunch Party.
- 22. •describes a meal at Fernham. •Compares it With OXBRIDGE. •Retires to her friend Mary Seton’s Room.
- 23. BRITISH MUSEUM • Books about women • Checking the "M" listings • “Been written in the red light of emotion and not in the white light of truth” • Five hundred pounds a year by her aunt, Mary Beton.
- 24. JUDITH SHAKESPEARE • Judith is as gifted perhaps as her brother. • Denied Formal Education. • She becomes engaged • She wants to go into acting • She is finally taken up by a theater-manager, • becomes pregnant by him, and commits suicide.
- 25. WOMEN WRITERS IN HISTORY • 1)Alphra Ben • 2)Emily Bronte • 3)Jane Austen • “But women may not always choose to write novels. They have poetry in them still unexpressed.”
- 26. MARY CARMICHAEL • “Life's Adventure by Mary Carmichael” • "Chloe liked Olivia.“ • Lesbianism.
- 27. MR. A • An imagined male author • “Women, then, have not had a dog's chance of writing poetry. That is why I have laid so much stress on money and a room of one's own."
- 28. TOWARDS FEMINIST POETICS • Elaine Showalter’s Critical Essay. • Published in 1979. • Feminist criticism can be divided into two varieties.
- 29. TWO TYPES OF FEMINIST CRITICISM •1. Woman as reader [Feminist Critique] Male-oriented , We get only experience of whaat men have felt •2. Woman as writer [Gynocritics] •Female language
- 30. 3 STAGES OF WOMEN WRITERS • “A Literature of Their Own” • 1) The first phase, the feminine phase dates from about 1840-1880 • During that period women wrote in an effort to equal the intellectual achievements of the male culture. • sign of this period is the male pseudonym
- 31. FEMINIST PHASE • 2) The feminist phase lasted about 38 years; from 1882 to 1920 • The women writers of this phase protested against the male canons and values • They rejected any text that stereotyped the women
- 32. FEMALE PHASE • The Female Phase (1920 to present):- The writers such as Rebecca West, Katherine Mansfield, and Dorothy Richardson • women reject both imitation and protest—two forms of dependency • Independability.
- 33. ORIENTALISM (1978) •Orientalism by Edward Said •Europeans divided the world into two parts •Occident vs Orient
- 34. CHAPTER 1: THE SCOPE OF ORIENTALISM • orientals started considering the orientals as non-human beings • divided the world in to two parts • ours and theirs
- 35. • The orients were regarded as uncivilized people • since they were the refined race it was their duty to civilize these people and in order to achieve their goal. • the orients themselves were incapable of running their own government. • every thing the orientals said and did was recorded irrespective of its context, and projected to the civilized
- 36. • Europeans was that they defined themselves by defining the orientals. • culture of the orientals was explained to the European audience by linking them to the western culture • Mohammadism
- 37. CHAPTER 2: ORIENTALIST STRUCTURES AND RESTRUCTURES • literary work • romanticized by the European poets • they were biologically superior, and secondly it were the Europeans who discovered the orients not the orients who discovered the Europeans. • orientalists of the 19th century, namely Silvestre de Sacy and Ernest Renan
- 38. CHAPTER 3 : ORIENTALISM NOW • The earlier orientalists did not interact a lot with the orients, whereas the new orients lived with them as if they were one of them • Lawrence of Arabia was one of such orienatlists. • two other scholars Massignon and Gibb. • Islam as a weak religion. • orient perspective too.