LITERATURE THEORY ENGLISH 10 LITERATURE THEORY AFFECTIVE THEORY

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LITERATURE THEORY ENGLISH 10

LITERATURE THEORY ENGLISH 10

LITERATURE THEORY • AFFECTIVE THEORY • THE MAIN JOB IS TO AROUSE EMOTION IN

LITERATURE THEORY • AFFECTIVE THEORY • THE MAIN JOB IS TO AROUSE EMOTION IN THE READER. • ANY RELEASE OF EMOTION IS POSITIVE. • IF AN EMOTION IS FELT, THEN WE WILL ACT! • THOSE WITHOUT THE RELEASE OF EMOTION, WILL NOT ACT, AND THEREFORE, WILL NOT GROW OR MATURE.

LITERATURE THEORY • EXPRESSIVE THEORY • THE ARTIST EXPRESSES MEANING THROUGH HIS FEELINGS •

LITERATURE THEORY • EXPRESSIVE THEORY • THE ARTIST EXPRESSES MEANING THROUGH HIS FEELINGS • THE TRUTH LIES IN HOW WE FEEL OR REACT • IF A FEELING IS IN ONE INDIVIDUAL, THEN IT IS IN ALL OF US. • THE TASK IS TO REACH ALL PEOPLE THROUGH THESE EMOTIONS • MEANING EXISTS…WE HAVE TO FIND IT.

LITERATURE THEORY • IMITATIVE THEORY • ALL ART IMITATES LIFE • IT IS A

LITERATURE THEORY • IMITATIVE THEORY • ALL ART IMITATES LIFE • IT IS A RE-CREATION OR RE-REPRESENTATION OF ACTUAL LIFE. • THE EVENTS AREN’T IMPORTANT, BUT THE CONSEQUENCES ARE. • LITERATURE SHOWS US HOW WE ARE TO “BE” • IT CLARIFIES THINGS IN OUR LIVES.

CRITICAL PERSPECTIVES • THE GREAT TRADITION – LEWIS (1895 -1978) • THERE IS A

CRITICAL PERSPECTIVES • THE GREAT TRADITION – LEWIS (1895 -1978) • THERE IS A LINK BETWEEN ALL GREAT WRITERS, BECAUSE EACH LEARNS FROM THE WRITERS THAT CAME BEFORE. • LITERATURE PROGRESSES. • THIS PLACES A MORAL OBLIGATION ON THE WRITER AND THE READER NEEDS TO BE AWARE OF THAT TRADITION.

CRITICAL PERSPECTIVES • READER RESPONSE- I. A. RICHARDS (1893 -1979) • THE INDIVIDUAL READER’S

CRITICAL PERSPECTIVES • READER RESPONSE- I. A. RICHARDS (1893 -1979) • THE INDIVIDUAL READER’S RESPONSE IS THE IMPORTANT THING. WHAT THE WRITER MIGHT HAVE INTENDED IS NOT IMPORTANT, WHAT THE READER FINDS IS. • THE READERS WAY INTO THE TEXT IS THROUGH CONNECTION MADE BETWEEN THE WORDS AND OUR PERCEPTION OF THEIR MEANING. • SCHOOL-BASED THEORY.

CRITICAL PERSPECTIVES • GENRE • LITERATURE IS CLASSIFIED INTO GENRE CATEGORIES, THEN JUDGED AGAINST

CRITICAL PERSPECTIVES • GENRE • LITERATURE IS CLASSIFIED INTO GENRE CATEGORIES, THEN JUDGED AGAINST THE CONVENTIONS OF THAT GENRE. • THIS IS USED OFTEN IN MEDIA STUDIES.

CRITICAL PERSPECTIVES • STRUCTURALISM • THE FOCUS IS ON ANALYZING WITHOUT EVALUATING, SHOWING WHAT

CRITICAL PERSPECTIVES • STRUCTURALISM • THE FOCUS IS ON ANALYZING WITHOUT EVALUATING, SHOWING WHAT AND HOW, BUT NOT JUDGING HOW EFFECTIVE IT IS. • BARTHES – LITERATURE IS A SYSTEM OF CODES ROOTED IN CULTURE THAT INVITES US TO EXPLORE WHAT “REALITY” IS. WHAT WE FIND IN THE TEXT DEPENDS ON WHAT OUR CULTURE IS. • MACHEREY – A WRITER RE-ASSEMBLES PRE-EXISTING IDEOLOGIES, CONVENTIONS AND CODES ACCORDING TO IDEOLOGIES WE MIGHT NOT EVEN BE AWARE OF.

CRITICAL PERSPECTIVES • DECONSTRUCTIONISTS – DERRIDA • BECAUSE EVERY TEXT IS READ DIFFERENTLY AS

CRITICAL PERSPECTIVES • DECONSTRUCTIONISTS – DERRIDA • BECAUSE EVERY TEXT IS READ DIFFERENTLY AS READERS FIND MEANING, NO TEXT CAN BE SAID TO HAVE “MEANING”. • WORDS DO NOT CREATE MEANING; THEY MERELY PLAY LINGUISTIC GAMES THAT FOLLOW AND BREAK RULES. • WE THEN CREATE MEANING BASED ON INTERPRETATION OF THOSE RULES.

CRITICAL PERSPECTIVES • PSYCHOANALYSIS – FREUD • EXAMINES HOW WE TRY TO RETURN TO

CRITICAL PERSPECTIVES • PSYCHOANALYSIS – FREUD • EXAMINES HOW WE TRY TO RETURN TO THE BLISS AND CHAOS OF OUR YOUTH (INFANCY, DEPENDENCY) • FOCUSES ON THE DESIRES OF THE CHARACTERS TO UNDERSTAND WHAT IS MOTIVATING THEM. • EGO: THE MOST BASIC PART OF THE PERSONALITY, AND WANTS INSTANT GRATIFICATION FOR OUR WANTS AND NEEDS. (BASIC) SUPEREGO: DEALS WITH REALITY, TRYING TO MEET THE DESIRES OF THE ID IN A WAY THAT IS SOCIALLY ACCEPTABLE. (REALITY) ID: DEVELOPS LAST, AND IS BASED ON

CRITICAL PERSPECTIVES • FEMINIST LITERARY CRITICISM • BECAUSE THE LITERARY TRADITION WAS CREATED MAINLY

CRITICAL PERSPECTIVES • FEMINIST LITERARY CRITICISM • BECAUSE THE LITERARY TRADITION WAS CREATED MAINLY BY MEN, LITERATURE SHOULD EXPOSE PATRIARCHAL DOMINANCE AND BUILD UP FEMININE TRADITION. • THIS SHOULD INVESTIGATE WOMEN’S EXPERIENCES AND HOW THEY INTERPRET AND USE LITERARY TRADITIONS DIFFERENT THAN MEN.

CRITICAL PERSPECTIVES • MARXIST LITERARY TRADITION • A TEXT IS SIMPLY RELATED TO THE

CRITICAL PERSPECTIVES • MARXIST LITERARY TRADITION • A TEXT IS SIMPLY RELATED TO THE SOCIAL CONTEXT OF ITS AUTHOR. • IT IS ALSO CONNECTED TO THE HISTORICAL CONTEXTS IN WHICH IT IS READ. THIS PROVIDES THE WORTH. • THE FOCUS IS ON WHAT THE TEXT REVEALS ABOUT ATTITUDES TO SOCIAL CLASS AND RACE AND GENDER. • THE GOAL IS AN EGALITARIAN SOCIETY.

CRITICAL PERSPECTIVES • POST COLONIAL • HERE THE FOCUS IS ON THE STRUGGLE AGAINST

CRITICAL PERSPECTIVES • POST COLONIAL • HERE THE FOCUS IS ON THE STRUGGLE AGAINST OPPRESSION AND INJUSTICE, CHIEFLY BETWEEN BLACK AND WHITE. • OFTEN THIS LITERATURE IS ENGLISH, BUT OUTSIDE THE ANGLO-SAXON TRADITION.

GROUP APPLICATION OF CRITICAL THEORY FOR SHORT FICTION • YOU WILL HAVE UNTIL FRIDAY

GROUP APPLICATION OF CRITICAL THEORY FOR SHORT FICTION • YOU WILL HAVE UNTIL FRIDAY TO PREPARE THIS APPLICATION OF LENSES. HERE IS YOUR TASK: 1. SELECT ONE OF THE STORIES THAT WE HAVE READ SO FAR. 2. WITH YOUR GROUP, PICK A PERSPECTIVE AND CRITICALLY ANALYZE WHY IT FITS INTO THIS PERSPECTIVE 3. YOU SHOULD INCLUDE: 1. AN OVERVIEW OF THE STORY 2. WHICH LENS YOU HAVE CHOSEN AND WHY YOU HAVE SELECTED IT. 3. THE CHARACTERISTICS OF THIS PERSPECTIVE AND HOW POSSIBLE OTHER EXAMPLES OF LITERATURE THAT CAN BE EXAMINED THIS WAY. 4. TEXT-BASED EVIDENCE AS TO HOW THIS SELECTION CAN BE STUDIED FROM THIS LENS CRITICALLY. 5. YOU MUST PREPARE ONE OF THE FOLLOWING: (1) HANDOUT WITH YOUR INFORMATION; (2) SLIDES TO VIEW