Applying theory, samples

Defamiliarization, also known as ostranenie, is a concept introduced by Russian formalist Viktor

Shklovsky. It involves presenting familiar things in an unfamiliar or strange way to encourage
readers to see them with fresh eyes and think about them in new ways. When applying this
theory to Franz Kafka's "Metamorphosis," one can analyze how the author uses
defamiliarization to create a sense of alienation and absurdity. Let's critically analyze the first
three paragraphs of Kafka's "Metamorphosis" with this perspective:

The first paragraph of "Metamorphosis" begins with the famous line, "As Gregor Samsa awoke
one morning from uneasy dreams he found himself transformed in his bed into a gigantic
insect." The use of the term "gigantic insect" immediately defamiliarizes the situation. The
reader is confronted with a bizarre and unexpected occurrence, challenging their conventional
understanding of reality. The abruptness of the transformation creates a sense of disorientation,
making readers question the boundaries between the ordinary and the extraordinary.

In the second paragraph, Kafka employs defamiliarization by describing Gregor's attempts to

move and his new physical form. The description of Gregor's numerous legs and hardback
illustrates an unfamiliar and grotesque image. By emphasizing the discomfort and difficulty
Gregor experiences in adjusting to his insect form, Kafka heightens the sense of alienation. This
challenges readers to empathize with a character undergoing a radical transformation, forcing
them to reconsider their preconceived notions about identity and humanity.

Gregor's initial reaction to his transformation is explored in the third paragraph. The text
highlights his concern about being late for work and the practical implications of his new
condition. This defamiliarization of the ordinary routine of waking up late for work is juxtaposed
with the extraordinary circumstance of waking up as an insect. The mundane concerns of
employment and punctuality become absurd in the context of Gregor's metamorphosis, inviting
readers to question societal norms and expectations.

In summary, Kafka uses defamiliarization in the first three paragraphs of "Metamorphosis" to

disrupt readers' expectations and challenge their understanding of reality. By presenting the
extraordinary transformation of Gregor Samsa in a matter-of-fact manner, Kafka prompts
readers to explore the psychological and existential implications of such a surreal event. The
ordinary becomes extraordinary, and the familiar becomes strange, inviting readers to critically
engage with the text and contemplate deeper meanings about identity, isolation, and the human
experience.

Literary theory of New Criticism to analyze the first two stanzas of Dylan Thomas' poem "In
October."
New Criticism Analysis of the First Two Stanzas of "In October":

New Criticism, also known as formalism, focuses on close readings of the text, emphasizing the
intrinsic meaning within the work itself rather than considering external factors like the author's
biography or historical context. This approach encourages a detailed examination of the
language, structure, and symbolism present in the poem.

Stanza 1
"It was my thirtieth year to heaven
Woke to my hearing from harbour and neighbour wood
And the mussel pooled and the heron
Priested shore
The morning beckon
With water praying and call of seagull and rook
And the knock of sailing boats on the net webbed wall
Myself to set foot
That second
In the still sleeping town and set forth."

Stanza 2:
*"My birthday began with the water—
Birds and the birds of the winged trees flying my name
Above the farms and the white horses
And I rose
In rainy autumn
And walked abroad in a shower of all my days.
High tide and the heron dived when I took the road
Over the border
And the gates
Of the town closed as the town awoke."*

Analysis:

1. Imagery and Symbolism:

- Thomas employs vivid imagery and symbolism, creating a sensory-rich experience for the
reader. The "harbour," "heron," "seagull," and "rook" contribute to a naturalistic scene that sets
the tone for the poem.
- The "water praying" suggests a spiritual connection with nature, while the "knock of sailing
boats" implies a rhythmic, almost ritualistic aspect to the morning.

2. Repetition and Rhythm:

 - The repetition of "And" at the beginning of many lines in both stanzas contributes to a
rhythmic flow, creating a sense of continuity and connection between the different elements
described.
- The use of enjambment (continuation of a sentence without a pause beyond the end of a
line) propels the reader forward, mirroring the progression of time and the speaker's journey.

3. Temporal Elements:
- The speaker's "thirtieth year" and "birthday" signify a moment of reflection and transition. The
poem captures a snapshot of this significant day, encapsulating the speaker's thoughts and
experiences.

4. Nature as a Reflection of the Self:

- The natural elements, such as the heron and the birds, seem to mirror the speaker's internal
state. The heron diving and the birds flying the speaker's name suggest a connection between
the speaker's identity and the natural world.

5. Closure and Awakening:

- The closing lines of both stanzas emphasize a sense of closure. In the first stanza, the
speaker sets forth into the still-sleeping town, and in the second stanza, the gates of the town
close as it wakes. This creates a cyclical structure, suggesting a completion of a journey or a
day.

In applying New Criticism, this analysis focuses on the internal coherence of the text itself,
examining how Thomas employs literary devices and symbols to construct meaning. The poem
unfolds as a carefully crafted composition where language, rhythm, and imagery work together
to evoke a contemplative atmosphere and convey the significance of the speaker's thirtieth year.

24. In the hardest working part of Coketown; in the innermost fortifications of that ugly
citadel, where Nature was as strongly bricked out as killing airs and gases were bricked in; at
the heart of the labyrinth of narrow courts upon courts, and close streets upon streets, which
had come into existence piecemeal, every piece in a violent hurry for some one man’s purpose,
and the whole an unnatural family, shouldering, and trampling, and pressing one another to
death; in the last close nook of this great exhausted receiver, where the chimneys, for want of
air to make a draught, were built in an immense variety of stunted and crooked shapes, as
though every house put out a sign of the kind of people who might be expected to be born in it;
among the multitude of Coketown, generically called ‘the Hands,’— a race who would have
found more favour with some people, if Providence had seen fit to make them only hands, or,
like the lower creatures of the seashore, only hands and stomachs—lived a certain Stephen
Blackpool, forty years of age.
Stephen looked older, but he had had a hard life. It is said that every life has its roses and
thorns; there seemed, however, to have been a misadventure or mistake in Stephen’s case,
whereby somebody else had become possessed of his roses, and he had become possessed
of the same somebody else’s thorns in addition to his own. He had known, to use his words, a
peck of trouble. He was usually called Old Stephen, in a kind of rough homage to the fact.

Marxist Analysis of the Passage:

Marxist literary theory focuses on the societal structures, power dynamics, and class struggles
depicted in literature. It examines how a text reflects or challenges the economic and social
conditions of its time.

1. Social Stratification:
- The passage vividly describes Coketown as an "ugly citadel" with inner fortifications where
Nature is "bricked out" and harmful elements are "bricked in." This imagery suggests a rigid
social structure that segregates the privileged from the impoverished.

2. Capitalism and Exploitation:

- The reference to Coketown as a place where "Nature was as strongly bricked out as killing
airs and gases were bricked in" speaks to the consequences of unchecked industrialization.
Nature is pushed aside to make way for factories, and harmful industrial byproducts are trapped
within, reflecting the exploitation of both the environment and the working class.

3. Dehumanization of the Working Class:

- The description of the multitude called 'the Hands' emphasizes their dehumanized status.
They are not referred to as individuals but as a collective, a "race." The metaphorical
comparison of these workers to "hands" suggests a reduction of their identity to mere labor, as if
they exist only to perform manual tasks.

4. Unnatural Family and Alienation:

- The passage describes the town as an "unnatural family," hinting at the disconnection and
alienation among its inhabitants. The construction of houses with chimneys in "stunted and
crooked shapes" symbolizes the distorted humanity resulting from oppressive industrial
conditions. Each house, in its design, reflects the deformed lives of the people within.

5. Economic Injustice and Hardship:

- The protagonist, Stephen Blackpool, is presented as someone who has faced hardships and
misfortunes. The phrase "every life has its roses and thorns" conveys the idea that life inherently
contains both positive and negative aspects. However, Stephen's experience is marked by an
imbalance, suggesting an unjust distribution of life's rewards and punishments.

6. Class Struggle:
 - The term "the Hands" implies a manual working class, and the reference to them finding
more favor if they were made only "hands and stomachs" highlights the economic exploitation
and societal disdain faced by the working class. The industrial environment in Coketown
symbolizes the struggle between the bourgeoisie, who control the means of production, and the
proletariat, who sell their labor.

7. Irony and Critique:

- Dickens employs irony in describing Coketown's industrial progress as a "great exhausted
receiver." The term "progress" is ironic because, despite technological advancements, the town
appears depleted and unhealthy. This reflects Dickens's critical view of unchecked
industrialization and its impact on human lives.

In conclusion, the Marxist analysis of this passage from "Hard Times" reveals Dickens's critique
of the dehumanizing effects of industrial capitalism, the exploitation of the working class, and the
social stratification that results from unfettered industrial progress. The vivid imagery and
metaphors serve as powerful tools to convey the harsh realities of life in a society driven by
economic interests and class divisions.