Literary Criticism Applying critical theory to literature Notes

Literary Criticism Applying critical theory to literature

Notes and Gatsby Essays from: A link to the full text can be accessed on my website: Twoebel. weebly. com Warriors Password

Literary Criticism Tries to explain the literary work to us: its meaning, its design, its beauty. Literary criticism does NOT imply finding fault with a literary work. It is the critical LENS through which we look. It is the interpretation of a text. We APPLY literary/critical THEORY to a text

Perspectives AUTHOR Centered GENRECentered TEX T READER Centered WORLDCentered

Critical Theory The philosophy upon which literary criticism is based.

Theories Moral Criticism, Dramatic Construction (~360 BC-present) Formalism, New Criticism, Neo-Aristotelian Criticism (1930 s-present) Psychoanalytic Criticism, Jungian Criticism(1930 s-present) Marxist Criticism (1930 s-present) Reader-Response Criticism (1960 s-present) Structuralism/Semiotics (1920 s-present) Post-Structuralism/Deconstruction (1966 -present) New Historicism/Cultural Studies (1980 s-present) Post-Colonial Criticism (1990 s-present) Feminist Criticism (1960 s-present) Gender/Queer Studies (1970 s-present)

Dramatic Construction – The origins of literary criticism Aristotle believed that elements like ". . . language, rhythm, and harmony. . . " as well as ". . . plot, character, thought, diction, song, and spectacle. . . " influence the audience's katharsis (pity and fear) or satisfaction with the work (Richter 39). This is one of the earliest attempts to explain what makes an effective or ineffective work of literature.

Psychoanalytic (World-Centered) Applies Freudian Theories to a text Id, Ego, Superego Unconscious Motives Defense Mechanisms Repression Oedipus Complex

Marxist (World) Based on theories of Karl Marx, this school concerns itself with class differences, economic and otherwise, as well as the implications and complications of the capitalist system: "Marxism attempts to reveal the ways in which our socioeconomic system is the ultimate source of our experience" (Tyson 277). Answer the overarching question: whom does it benefit? The elite? The middle class? Marxists critics are also interested in how the lower or working classes are oppressed - in everyday life and in literature.

New Historicism (Author. Centered) Typical questions: What language/characters/events present in the work reflect the current events of the author’s day? How are such events interpreted and presented? How are events' interpretation and presentation a product of the culture of the author? How does this portrayal criticize the leading political figures or movements of the day? How does the literary text function as part of a continuum with other historical/cultural texts from the same period. . . ?

Feminist (World-Centered) Feminist criticism is concerned with ". . . the ways in which literature reinforce or undermine the economic, political, social, and psychological oppression of women" (Tyson).

Gender Studies/LGBTQ Theory/Queer Theory (World-Centered) What does the work contribute to our knowledge of queer, gay, or lesbian experience and history? How is queer, gay, or lesbian experience coded in texts?

TASKS: 1. Read background on Theory by Lois Tyson 2. Read an essay that analyzes The Great Gatsby from that particular lens 3. Annotate readings, so you are prepared to discuss 4. Discuss in groups & create a handout

Gatsby Options: Marxist Criticism: “You Are What You Own: A Marxist Reading of The Great Gatsby” Feminist Criticism: “Next They’ll Throw Everything Overboard: A Feminist Reading of The Great Gatsby” African American Criticism (New Historicism/Cultural Studies): “But Where’s Harlem? : An African American Reading of The Great Gatsby” LGBTQ Criticism: “Will the Real Nick Carraway Please Come Out: A Queer Reading of The Great Gatsby” Psychoanalytic Criticism: “What’s Love Got to Do With It? : A Psychoanalytic Reading of The Great

FOR MORE INFORMATION https: //owl. english. purdue. edu/owl/resource/722/01/ All definitions cited from this website and Lois Tyson’s Critical Theory Today

Formalists (Genre-Centered) Keys to understanding a text are WITHIN the text itself – not influenced by the author, historical, or cultural contexts. Focuses on the LITERARY elements of a text. For example: How does the work use imagery to develop its own symbols? (i. e. making a certain road stand for death by constant association) How are the various parts of the work interconnected? How do paradox, irony, ambiguity, and tension work in the text? How do these parts and their collective whole contribute to or not contribute to the aesthetic quality of the work?

Reader-Response (Reader-Centered) What do YOU think? How does the interaction of text and reader create meaning? How might we interpret a literary text to show that the reader's response is parallel to the topic of the story? What does the body of criticism published about a literary text suggest about the critics who interpreted that text and/or about the reading experience produced by that text? (Tyson 191)

Structuralism and Semiotics (Genre-Centered) Looks for patterns in language theory of modes, or historical criticism (tragic, comic, and thematic); theory of symbols theory of myths, or archetypal criticism (comedy, romance, tragedy, irony/satire); theory of genres, or rhetorical criticism (prose, drama, lyric) (Tyson 240).