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Literary Criticism (Repaired)
Literary Criticism (Repaired)
Competencies:
On the other hand, the Moral-Philosophical approach emphasizes that the larger
function of literature is to teach morality and to probe philosophical issues. Literature is
interpreted within a context of the philosophical thought of a period or group. Jean
Paul Sartre and Albert Camus can be read profitably only if one understands
existentialism. Nathaniel Hawthornes Scarlet Letter is seen as a study of the effects
of sin on a human soul. Robert Frosts Stopping by Woods on a Snowy Evening
suggests that duty takes precedence over beauty and pleasure.
Had Goodman Brown fallen asleep in the forest and only dreamed a wild dream of a witch-
meeting?
Be it so if you will; but, alas! It was a dream of evil omen for young Goodman brown. A stern, a
sad, a darkly meditative, a distrustful, if not a desperate man did he become from the night of that
fearful dream. On the Sabbath day, when the congregation were singing a holy psalm, he could not
listen because an anthem of sin rushed loudly upon his ear and drowned all the blessed strain.
When the minister spoke from the pulpit with power and fervid eloquence, and, whit his hand on
the open Bible, of the sacred truths of our religion, and of saint-like lives and triumphant deaths,
and of future bliss or misery unutterable, then did Goodman Brown turn pale, dreading lest the roof
should thunder down upon the gray blasphemer and his hearers.
This approach also uses Northrop Fryes assertion that literature consists of
variations on a great mythic theme that contains the following:
e.g.
Lam-ang archetype of immortality
Superman in the movie Superman Returns death and rebirth
archetype
Gandalf in The Lord of the Rings wise old man archetype
Odysseus - hero of initiation
Aeneas hero of the quest
Jesus Christ sacrificial scapegoat
g. Structuralist Literary Theory. This theory draws from the linguistic theory of
Ferdinand de Saussure. Language is a system or structure. Our perception of
reality, and hence the ways we respond to it are dictated or constructed by the
structure of the language we speak.
Jabberwocky
Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
h. Deconstruction. This theory questions texts of all kinds and our common practices
in reading them. It exposes the gaps, the incoherences, the contradictions in a
discourse and how a text undermines itself. The deconstructionist critic begins by
discerning a flaw in the discourse and then revealing the hidden articulations.
Deconstructing a text calls for careful reading and a bit of creativity. The text says
something other than what it appears to say. The belief is that language always
betrays its speaker (especially when there is a metaphor).
A deconstructive critic deals with the obviously major features of a text, and then
he/she vigorously explores its oppositions, reversals, and ambiguities. The most
important figure in deconstruction is the Frenchman Jacques Derrida.
How to do deconstruction:
identify the oppositions in the text
determine which member appears to be favored or privileged and look
for evidence that contradicts that favoring or privileging
expose the texts indeterminacy
Prison
Mila D. Aguilar
Prison is
a double wall;
one of adobe,
the other
so many layers
of barbed wire,
both formidable.
The outer wall
is guarded
from watch towers.
The other is the prison
within,
where they will
hammer you
into the image
of their own likeness
whoever they are.
i. Russian Formalism. This theory stresses that art is artificial and that a great deal of
acquired skill goes into it as opposed to the old classical maxim that true art
conceals its art. The Russian Formalists, led by Viktor Shklovsky, aimed to establish
a science of literature a complete knowledge of the formal effects (devices,
techniques, etc.) which together make up what is called literature. The Formalists
read literature to discover its literariness to highlight the devices and technical
elements introduced by the writer in order to make language literary.
scolds Forbid
den Stop
Must
nt Dont
j. Marxist Literary Theory. This theory aims to explain literature in relation to society
that literature can only be properly understood within a larger framework of social
reality. Marxists believe that any theory that treats literature in isolation (for instance,
as pure structure or as a product of the authors individual mental processes) and
keeps it in isolation, divorcing it from history and society, will be deficient in its ability
to explain what literature is.
Marxist literary critics start by looking at the structure of history and society and then
see whether the literary work reflects or distorts this structure. Literature must have a
social dimension it exists in time and space; in history and society. A literary work
must speak to concerns that readers recognize as relevant to their lives.
Marxist literary criticism maintains that a writers social class and its prevailing
ideology (outlook, values, tacit assumptions, etc.) have a major bearing on what is
written by a member of that class. The writers are constantly formed by their social
contexts.
Learn, he said,
learn words
that you may pry off
these letters
that have made me
old and bent.
I came back
many years later
with my words
I knew he wanted
but by then
it was too late.
I listened to him
die with words:
you are lucky
to have learned words
they will keep you
from having bent shoulders.
By his deathbed
I cried
and spat off
letters while
my shoulders bent
with grief.
k. Feminist Criticism. This is a specific kind of political discourse; a critical and
theoretical practice committed to the struggle against patriarchy and sexism.
Broadly, there are two kinds of feminist criticism: one is concerned with unearthing,
rediscovering or re-evaluating womens writing, and the other with re-reading
literature from the point of view of women.
Feminism asks why women have played a subordinate role to men in the society. It
is concerned with how womens lives have changed throughout history and what
about womens experience is different from men.
Critics like Simone de Beauvoir, Mary Ellman, and Kate Millett were among the first
to reveal that throughout literary history women have been conceived of as other, as
somehow abnormal or deviant. As a result, female literary characters have been
stereotyped as bitches, sex goddesses, ols maids. For the first time in history,
criticism posited a female reader for whom stereotypes of womanhood were
offensive.
I
Gather ye rosebuds while ye may,
Old time is still a-flying;
And this same flower that smiles to-day,
To-morrow will be dying.
II
The glorious lamp of heaven, the sun,
The higher hes a-getting,
The sooner will his race will run,
And nearer hes to setting.
III
That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse and the worst
Times still succeed the former.
IV
Then be not coy, but use your time,
And while ye may, go marry;
For, having lost but once your prime,
You may forever tarry.
l. Postcolonial Criticism. Postcolonialism refers to a historical phase undergone by
Third World countries after the decline of colonialism: for example, when countries in
Asia, Africa, Latin America, and the Caribbean separated from the European empires
and were left to rebuild themselves. Many Third World writers focus on both
colonialism and the changes created in a postcolonial culture. Among the many
challenges facing postcolonial writers are the attempts both to resurrect their culture
and to combat the preconceptions about their culture.
There is a need to escape from the implicit body of assumptions to which English,
the language of the colonizing power, was attached: its aesthetic and social values,
the formal and historically limited constraints of genre, and the oppressive political
and cultural assertion of metropolitan dominance of center over margin.
Postcolonial critics also study diasporic texts outside the usual Western genres,
especially productions by aboriginal authors, marginalized ethnicities, immigrants,
and refugees.
Then a knock at the door and a young man in heavily starched white shorts and shirt comes in to
offer his services as cook.
Wetin you fit cook? asked Chief Nanga as he perused the mans sheaf of testimonial, probably not
one of them genuine.
I fit cook every European chop like steak and kidney pie, chicken puri, misk grill, cake omelette.
You no sabi cook African chop?
Ahh! That one I no sabi am-o, he admitted. I no go tell master lie.
Wetin you de chop for your own house? I asked, being irritated by the idiot.
Wetin I de chop for my house? he repeated after me. Na we country chop I de chop.
You country chop no be Africa chop? asked Chief Nanga.
Na him, admitted the cook. But no be me de cook am. I get wife for house.
My irritation vanished at once and I joined Chief nangas laughter. Greatly encouraged the cook
added:
How man wey get family go begin enter kitchen for make bitterleaf and egusi? Unless if the man
no get shame. (p. 46)
from A Man of the People by Chinua Achebe
m. Postmodern Literary Theory. Postmodern is a term used to refer to the culture of
advanced capitalist societies. This culture has undergone a profound shift in the
structure of feeling. A whole new way of thinking and being in the world emerged
a paradigm shift in the cultural, social, and economic orders.
Following World War II a new kind of society began to emerge, variously called post-
industrial society, multinational capitalism, consumer society, media society. This
society is characterized by:
The term postmodern has been applied to a style or a sensibility manifesting itself in
any creative endeavor which exhibits some element of self-consciousness and
reflexivity.
fragmentation intertextuality
discontinuity decentring
indeterminacy dislocation
plurality ludism
metafictionality parody
heterogeneity pastiche
Perhaps the greatest liberating feature of postmodern writing has been the mixing of
writings and intertextual referencing. The borders between genres have become more
fluid. Artists and writers no longer quote texts; they incorporate them, to the point
where the line between high art and commercial forms seems increasingly difficult to
draw.
Examples:
The works of Andy Warhol
The poetry of Allen Ginsberg, Haryette Mullen, Susan Howe
The novels of Don de Lillo, Jasper Fforde, Thomas Pynchon, William Gibson
Movies like Moulin Rouge, Matrix, Vanilla Sky, Inception, Adjustment Bureau, Stranger
than Fiction, Mamma Mia
The works of Michel Foucault
For the believers of reader-response theories (Rosenblatt, Bleich, Fish), the object of
observation appears changed by the act of observation. Knowledge is made by
people, not found, according to David Bleich (1978). Writing about literature should
not involve suppressing readers individual concerns, anxieties, passions,
enthusiasms. A response to a literary work always helps us find out something about
ourselves. Every act of response, he continues, reflects the shifting motivations and
perceptions of the reader at the moment. Readers undergo a process of negotiation
with a community of readers to seek a common ground.
Louise Rosenblatt (1978) called for criticism that involved a personal sense of
literature, an unself-conscious, spontaneous, and honest reaction, but this should be
checked against the text and modified in a continuing process. While multiple
interpretations are accepted, some readings are considered incorrect or
inappropriate because they are unsupportable by the text. The focus is on the
transaction between the text and the reader, i.e. a poem is made by the text and the
reader interacting.
Stanley Fish (1980, 1989) moves away from the idea of an ideal reader who finds
his/her activity marked out, implied, in the text, and he moves toward the idea of a
reader who creates a reading of the text using certain interpretive strategies.