2. Cultural Approach
Considers literature as one of the principal manifestation and
vehicles of a nation’s or race’s culture and tradition.
It includes the entire complex of what goes under “culture” -
the technological, the artistic, the sociological, the ideological
aspects, and considers the literary piece in the total culture
milieu in which it was born.
3. This approach in one of the richest way to arrive at the culture
of the people and one of the most pleasurable ways of
appreciating the literature of the people. It goes by the dictum
“culture teaching through literature”.
4. Also called “PURE” or “LITERARY” approach
The selection is read and viewed intrinsically, or for itself;
independent of author, age, or any other extrinsic factor.
This approach is close to the “art for art’s sake” dictum
The study of the selection is more is more or less based on the so
– called literary elements which is more or less boil down to the
literal level, the affective values, the ideational values, technical
values, and total effects.
FORMALISTIC / LITERARY APPROACH
5. The literal level (subject matter)
The affective values (emotional, mood, atmosphere, tone
attitudes, empathy)
The ideational values (themes, visions, universal truths,
character)
Technical Values (plot, structure, scene, language, point of view,
imagery, figure, metrics, etc.)
Total Effect (the interrelation of the foregoing elements)
6. The nature of man is CENTRAL to literature. The reader
or teacher or critic more or less “requires” that the piece
present MAN AS ESSENTIALLY RATIONAL, that is
endowed with intellect and free will; or that the piece
does not misinterpret the true nature of man
MORALISTIC AND HUMANISTIC APPROACH
7. In these times of course the TRUE NATURE OF MAN is hotly
contested, making literature all the more challenging.
This approach is close to the “MORALITY” of literature, to
the questions of ethical goodness and badness
8. Sees literature as both a reflection and product of the times
and circumstances in which it is written. Man as a member
of a particular society or nation at a particular time, is
central to the approach and whenever a teacher gives
historical or biographical backgrounds in introducing a
selection, or arranges a literature course in chronological
order, he is hewing close to this approach.
HISTORICAL APPROACH
9. Cultural
– an approach in knowing the culture of the people and one
of the pleasurable ways of appreciating the literature of the
people.
Formalistic
– based on the literary elements
Moral / Humanistic
– close to the morality of literature , to questions of
ethical goodness and badness.
Historical
– sees literature as both a reflection and a product of the times
and circumstances in which it is written.
Conclusion
11. FEMINISM CRITICISM
Literature may be interpreted as a battle of the sexes or a
reaction or result of oppressive patriarchy.
Concerned with the impact of gender on writing and reading.
Usually begins with a critique of patriarchal culture.
Concerned with the place of female writers. Concerned with
the roles of female characters within works.
12. READER-RESPONSE CRITICISM
Literature may be judged according to how the reader
perceives it instead of what the author intends. The text itself
has no meaning until it is read by a reader. The reader creates
the meaning.
Analyzes the reader's role in the production of meaning
makes someone's reading a function of personal identity.
Recognizes that different people view works differently and
that people's interpretations change over time.
13. MARXIST
Examines how the text represents and treats power dynamics
between social classes.
Operates based on the perspective and principles of its
namesake, itself a movement based on theories and social
examinations of Karl Marx.
focuses on economic and other differences in a text, as well
as the way that the economic and power hierarchy in the
world of the text is structured.
