Study the literary work’s “point of origin” via biography and bibliography
Consider the expressed intentions of the author
Learn the history of the work’s reception
Evaluate the aims and limitations of the text
Browse these common theories. When considered singularly and collectively, they're useful approaches to great works of literature for interpreting and finding meaning.
Browse these common theories. When considered singularly and collectively, they're useful approaches to great works of literature for interpreting and finding meaning.
Take the quiz to discover what poem you have been assigned to discus.docxbriankimberly26463
Take the quiz to discover what poem you have been assigned to discuss this week;
"On Being Brought From Africa to America" By: Phillis Wheatley
2.Look through the critical approaches in the Week 4 lesson, and CHOOSE 2 that you think could be used to analyze the poem you chose.
Literary Critical Theory:
Interpretive Strategies
1. Historicism considers the literary work in light of "what really happened" during the period reflected in that work. It insists that to understand a piece, we need to understand the author's biography and social background, ideas circulating at the time, and the cultural milieu. Historicism also "finds significance in the ways a particular work resembles or differs from other works of its period and/or genre," and therefore may involve source studies. It may also include examination of philology and linguistics. It is typically a discipline involving impressively extensive research.
2. New Criticism examines the relationships between a text's ideas and its form, "the connection between what a text says and the way it's said." New Critics/Formalists "may find tension, irony, or paradox in this relation, but they usually resolve it into unity and coherence of meaning." New Critics look for patterns of sound, imagery, narrative structure, point of view, and other techniques discernible on close reading of "the work itself." They insist that the meaning of a text should not be confused with the author's intentions nor the text's affective dimension--its effects on the reader. The objective determination as to "how a piece works" can be found through close focus and analysis, rather than through extraneous and erudite special knowledge.
3. Archetypal criticism "traces cultural and psychological 'myths' that shape the meaning of texts." It argues that "certain literary archetypes determine the structure and function of individual literary works," and therefore that literature imitates not the world but rather the "total dream of humankind." Archetypes (recurring images or symbols, patterns, universal experiences) may include motifs such as the quest or the heavenly ascent, symbols such as the apple or snake, or images such as crucifixion--all laden with meaning already when employed in a particular work.
4. Psychoanalytic criticism adopts the methods of "reading" employed by Freud and later theorists to interpret what a text really indicates. It argues that "unresolved and sometimes unconscious ambivalences in the author's own life may lead to a disunified literary work," and that the literary work is a manifestation of the author's own neuroses. Psychoanalytic critics focus on apparent dilemmas and conflicts in a work and "attempt to read an author's own family life and traumas into the actions of their characters," realizing that the psychological material will be expressed indirectly, encoded (similar to dreams) through principles such as "condensation," "displacement," and "symbolism."
5. Femini.
aim of this paper is to study and analyse various aspects of the historical novel, i.e., need for fiction in a historical narrative, the defining features of historical fiction and the rise of the historical novel etc.
I hope, it is quite helpful for the beginner to understand the concept of contemporary Literary theory. Students can take the help to study and understand the basics of contemporary literary theory. It includes concise concepts, tenets and components to make the strategic study for competitive examination at one specific study material.
Here you will find; Marxism by Karl Marx. Introduction of Karl Marx. Marxism and Marx. Marxist Critic has three points. Marxist Criticism.
A political and economic system in which there are no classes and everyone contributes to the betterment of society. George Hegel was an influence on him (his famous work is Dialectal Materialism).
Marx primarily addressed the issues of class conflict, rich/poor, owner and worker.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Take the quiz to discover what poem you have been assigned to discus.docxbriankimberly26463
Take the quiz to discover what poem you have been assigned to discuss this week;
"On Being Brought From Africa to America" By: Phillis Wheatley
2.Look through the critical approaches in the Week 4 lesson, and CHOOSE 2 that you think could be used to analyze the poem you chose.
Literary Critical Theory:
Interpretive Strategies
1. Historicism considers the literary work in light of "what really happened" during the period reflected in that work. It insists that to understand a piece, we need to understand the author's biography and social background, ideas circulating at the time, and the cultural milieu. Historicism also "finds significance in the ways a particular work resembles or differs from other works of its period and/or genre," and therefore may involve source studies. It may also include examination of philology and linguistics. It is typically a discipline involving impressively extensive research.
2. New Criticism examines the relationships between a text's ideas and its form, "the connection between what a text says and the way it's said." New Critics/Formalists "may find tension, irony, or paradox in this relation, but they usually resolve it into unity and coherence of meaning." New Critics look for patterns of sound, imagery, narrative structure, point of view, and other techniques discernible on close reading of "the work itself." They insist that the meaning of a text should not be confused with the author's intentions nor the text's affective dimension--its effects on the reader. The objective determination as to "how a piece works" can be found through close focus and analysis, rather than through extraneous and erudite special knowledge.
3. Archetypal criticism "traces cultural and psychological 'myths' that shape the meaning of texts." It argues that "certain literary archetypes determine the structure and function of individual literary works," and therefore that literature imitates not the world but rather the "total dream of humankind." Archetypes (recurring images or symbols, patterns, universal experiences) may include motifs such as the quest or the heavenly ascent, symbols such as the apple or snake, or images such as crucifixion--all laden with meaning already when employed in a particular work.
4. Psychoanalytic criticism adopts the methods of "reading" employed by Freud and later theorists to interpret what a text really indicates. It argues that "unresolved and sometimes unconscious ambivalences in the author's own life may lead to a disunified literary work," and that the literary work is a manifestation of the author's own neuroses. Psychoanalytic critics focus on apparent dilemmas and conflicts in a work and "attempt to read an author's own family life and traumas into the actions of their characters," realizing that the psychological material will be expressed indirectly, encoded (similar to dreams) through principles such as "condensation," "displacement," and "symbolism."
5. Femini.
aim of this paper is to study and analyse various aspects of the historical novel, i.e., need for fiction in a historical narrative, the defining features of historical fiction and the rise of the historical novel etc.
I hope, it is quite helpful for the beginner to understand the concept of contemporary Literary theory. Students can take the help to study and understand the basics of contemporary literary theory. It includes concise concepts, tenets and components to make the strategic study for competitive examination at one specific study material.
Here you will find; Marxism by Karl Marx. Introduction of Karl Marx. Marxism and Marx. Marxist Critic has three points. Marxist Criticism.
A political and economic system in which there are no classes and everyone contributes to the betterment of society. George Hegel was an influence on him (his famous work is Dialectal Materialism).
Marx primarily addressed the issues of class conflict, rich/poor, owner and worker.
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The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Embracing GenAI - A Strategic ImperativePeter Windle
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2. Background
Introduced in the 1980’s
Reaction to text-only approach by formalists
Acknowledges importance of text but analyzes text
with an eye to history
Introduced by Louis Montrose and Stephen
Greenblatt (“social energy” and “speaking with the
dead”)
3. Traditional history is, by its nature, a subjective narrative, usually
told from the point of view of the powerful. The losers of history
do not have the means to write their stories, nor is there usually
an audience interested in hearing them.
Traditional history is not only subjectively written, it is also read
and discussed subjectively.
The powerless also have “historical stories” to relate that are not
to be found in official documents, mostly because they played no
hand in creating them.
Main Areas Of Study/Points Of Criticism
4. No reader can claim to have the “truth” of a text or event, or even that an understanding of
the “truth” is possible. At best, one can acknowledge the “truth” of a particular point of
view.
The questions to ask are not: “Are the characters based on real people?” “Are any characters
or events in the text drawn from the author’s life and experiences?” or “Is the text an
accurate portrayal of the time period in which it is set?” Instead, ask “What view or
understanding of the relevant culture does this text offer?” and “How does this text
contribute to or shape the understanding of the culture it represents?”
The text, rather than being a static artifact of a definable culture, is a participant in a
dynamic, changeable culture. Every time someone reads it, he or she brings a unique set of
experiences and points of view that change the meaning of the text, however slightly.
Main Areas Of Study/Points Of Criticism
5. New historicism: The approach
Sees history as a series of discourses
Should incorporate diverse discourses
Embraces feminist, cultural, and Marxist
criticism
Assumes works of literature both
influence and are influenced by
historical reality
Believes literature both refers and is
referred to by things outside itself
6. Defines discipline of history more broadly than predecessors; it is a
social science
Needs to make sociohistorical subjects and methods central to
literary studies
Links sociology and historical criticism
Anthropology particularly useful in literary criticism
There is never just one cause of an event; history is a series of events
tied into a vast web of economic, social, and political factors
History is connected to power
Views on History
7. Critic must acknowledge and be aware of bias: historical
vantage point as well as personal bias.
Examine the voice of the writer and his/her experiential
influence on the text
Requirements of New Historicism
8. Procedure of New Historicism
Jerome McGann Historical Studies and Literary
Criticism (1985) and The Beauty of Inflecitons
Study the literary work’s “point of origin” via
biography and bibliography
Consider the expressed intentions of the author
Learn the history of the work’s reception
Evaluate the aims and limitations of the text
9. Assumptions
H. Aram Veeser The New Historicism (1989)
Expressive acts cannot be separated from material conditions
Boundary between literary and nonliterary texts is a false
division
Neither literary nor historical discourse “gives access to
unchanging truths nor expresses inalterable human nature”
“Critical discourses adequate to describe culture under
capitalism participate in the economy they describe”
10. Connection to New Cultural History
Michel Foucault
Interest in anthropological and sociological subjects and
methods
Creative way of weaving stories and anecdotes about the
past into revealing thick descriptions
Tendency to focus on nontraditional, noncanonical subjects
and relations
Redefine the boundaries historical inquiries: connect what
seems unconnected
Examine history as an evolutionary process, a continuous
development toward the present
11. Criticisms
Once again overlooks, or devalues, aesthetic
properties of a text
(doesn’t value literature for literature)
Anecdotal history
(not enough historical research to substantiate claims)
Confuses fiction with nonfiction, intent with
truths, etc.
12. Questions To Ask While Applying
The Criticism:
What events occurred in the writer’s life that made him or her who
he or she is? What has affected his or her view of life?
Who influenced the writer? What people in his or her life may have
helped him or her form this world view?
What did the writer read that affected his or her philosophy? What
were the writer’s political views? Was he or she liberal?
Conservative? Moderate?
In what level in the social order was the writer raised? How did his
economic and social situation affect him or her?
At what level in the social order did the writer want to be?
From what level in the social order did the writer’s friends come? How
were they employed?
How powerful was the writer socially?
What concerned the writer about society? What did he or she do about
it?
What type of person was the writer in his or her society?
13. What was happening in the world at the time the book was written? What was
occurring during the time in which it is set?
What were some major controversies at the time the book was written? The time in
which it is set?
Who was on either side of the controversy? Who were the powerful? Who were the
powerless?
Why were the powerful in their positions of power? What qualities did they have?
What events transpired to get them to their positions?
What is similar about the views and “facts” of this book and other books written in or
about the same era? What is different?
How did the public receive the work when it was first published?
How did the critics receive the work when it was first published?
Did any change in culture result from the work? What changed?
What different perspectives of history does this text represent?
How does this text fit into the rules of literature in the era in which it was written?
Questions (cont.)