1. Read pp. 82-84 of your textbook.
TONIGHT’S HOMEWORK
Do brainstorming (prewriting) and outlining for the 1000-word analytical essay and bring a hard copy of those steps to class Tuesday.
Read pp of your textbook.
Continue reading or re-reading your RP book and taking notes.

2. "The Story of an Hour" and Critical Approaches to Literature
Literary Theory (pp )
The way we “see” (read and understand) literature depends largely upon what kind of “glasses” we are wearing.
We call this “perspective” or “point of view.”
No single lens gives us the clearest view.
Most people use several lenses at once.

3. Why should I think about literary theory?
Literary theory provides a deeper understanding of a text.
Looking at a story from different perspectives often results in discover-ing new and intriguing things.
Literary theory lets you in on the “secret.”

4. How many sides to a story?
Most likely you have been taught Formalism/ New Criticism. This is just one of many ways to approach a text.
Although there are many “lenses” (different ways you can approach a text), we are going to study seven in particular.
Take notes!

5. WARNING:
Keep in mind that these literary approaches are ways for READERS (like you) to UNDERSTAND a text. They are not ways that an AUTHOR has WRITTEN the text.
Each of these literary approaches is like a different pair of glasses. The glasses change or clarify the way you see a painting, but the painting itself does not change. In most cases, the painting was not created for a particular pair of glasses. It is open to ALL viewers’ interpretations.

6. Types of Literary Theory (“Lenses”)
Formalist / New Criticism (pp )
Biographical Criticism
Psychological Criticism (pp )
Historical, Cultural, Sociological, and Marxist Criticism (pp , 52-58)
Gender (Feminist, LGBTQ) Criticism (pp )
Mythological (Archetypal) Criticism (pp )
Reader-Response Criticism (pp )

7. Formalist/New Criticism (pp. 43-46)
Concentrates on literary features such as symbol, imagery, tone, style, and structure to determine how these function together to create the reader’s experience.
Supposes that there is a central, unifying theme in every work.
Says there is one “right” answer that can be found within the text.

8. Formalist Analysis of Kate Chopin’s “The Story of an Hour”
Consider
adjectives, adverbs, vivid verbs (diction)
foreshadowing (“heart trouble”)
metaphors (“storm of grief,” “a very elixir of life”)
personification (“something coming to her… creep-ing out of the sky,” “monstrous joy,” “joy that kills”?)
repetition (“open,” “free”)
symbols (open window/“new spring life,” closed door)
similes (“like a goddess of Victory”)
irony (her sudden death at the end, “joy that kills”)
What can you infer is the theme?

9. Biographical Criticism
Concentrates on the author’s life experiences and how those may have influenced him or her in writing the work.
It is believed that every work has a single interpretation—what the author intended.

10. Biographical Analysis of Kate Chopin’s “The Story of an Hour”
Research Kate Chopin’s life and marriage. Is any character a representa-tion of the author? (If not, don’t use this approach.)
Look at the work through the author’s eyes. Is Chopin making a personal comment?
How would the effect be different if a man, a woman who was a former slave or poor, or a 21st-century writer had written this?

11. Psychoanalytical Criticism (pp. 47-48)
Explores the symbolic meanings of events and the conscious or subconscious motivations of the characters or the author.
Takes into account dreams, subcon- scious desires, and sexual repression (for example, the Oedipus or Electra complex [click here for a video]).

12. Psychoanalytical Analysis of Chopin’s “The Story of an Hour”
Imagine that you are a psychotherapist and Louise Mallard (or Kate Chopin) is your patient. (Do not assume the protagonist is the author.)
What makes her the way she is? Why does she do what she does?
What are her subconscious fears? What are her subconscious desires?
Is she healthy or disturbed?
Does she have issues with authority (what we might casually call “daddy issues” or “mommy issues”)?
Can she adapt and function in her world?
Does she have a breakthrough? Would you say she is cured?

13. Historical, Cultural, and Marxist Criticisms (pp. 49-50, 52-58)
Treat a literary text as a document reflecting, producing, or being produced by the social conditions of its time or culture.
Take into consideration what was happening in the world or a society at the time the text was written (for example, wars, social issues, political movements, and industrialization).

14. Historical Analysis of Chopin’s “The Story of an Hour”
Consider the author’s and protagonist’s social (and economic) class.
Consider what the world was like in the time (late 19th century) and place (New Orleans) the story was written and takes place.
What was going on in the American South?
What was life like then?
How would the story be different if the main character were of a different race or social class?
What comment might Chopin be making on social rules and expectations?

15. Gender (Feminist/Gay/Lesbian) Criticism (pp. 54-55)
Explores how what society says is masculine or feminine is reflected in a literary work, often seeking to correct or supplement a heterosexual / male-dominated critical perspective.
Considers how litera- ture portrays women and/or LGBTQ people.

16. "The Story of an Hour" and Critical Approaches to Literature
Gender Criticism (continued): CLICK HERE TO WATCH A SHORT VIDEO (Warning: It is rated R.)

17. Your first impression of that video is probably that the story and its theme are what society would consider very macho or masculine. That is exactly how audiences saw it when the novel Fight Club was published in 1996 and when the movie was released in 1999.
Now, consider the fact that the author of this novel is gay. When audiences learned of this in 2003, do you think it may have changed the way they looked at this story? Does it make you see the scene differently — especially with Brad Pitt smoking that cigarette after their vigorous, sweaty scuffle? If so, you are using a gender viewpoint.

18. Feminist Analysis of Chopin’s “The Story of an Hour”
What was life like for women in Louise Mallard’s (and Kate Chopin’s) society?
Who holds power in that society?
Consider the female (Louise and Josephine) and male (Richards and Brently) characters. Does each fit the stereotype of his or her gender? How? If not, how is he or she different?
Which characters show power or weakness? How?
Why is the protagonist called “Mrs. Mallard” in the beginning but “Louise” later in the story?

19. Mythological (Archetypal) Criticism (pp. 46-47)
Looks for underlying, recurrent patterns in literature (like death and rebirth/the seasons) that reveal universal meanings and basic human experiences.
Finds associations between a literary work and widely known stories like myths, religious texts, and fairy tales.

20. Mythological (Archetypal) Criticism (continued)
Isn’t nearly every Disney princess movie really the same story? Why do you think that is the case? It is probably because children like things that are familiar. Adults like that sometimes, too. After all, isn’t that why movies like The Fast and the Furious have so many sequels? A familiar storyline is like shorthand; the author or filmmaker can take for granted that readers or moviegoers already understand something about the story, giving it added meaning.

21. Archetypal Analysis of Chopin’s “The Story of an Hour”
Can you find any allusions to familiar stories or universal truths?
The four seasons
In what season is the story set?
What is the significance of this season? What does it typically represent?
How does this relate to the character of the protagonist?

22. Reader-Response Criticism (pp. 48-49)
Says that every reader’s interpretation is unique because every reader has a different biography, history, gender / sexual orientation, mythol- ogy, and psychology.
What the reader sees and understands, not what the writer may have intended, is what is important.

23. Critical Approaches to Literature
Take another look at your homework handout (“Critical Approaches…”). Now that you understand these approaches a little better, you may change some of your answers if you wish. THEN HAND IT IN!

24. Writing Assignment: Critical Analysis of “The Story of an Hour”
"The Story of an Hour" and Critical Approaches to Literature
Writing Assignment: Critical Analysis of “The Story of an Hour”
Using at least one of the critical approaches discussed in class today, write a 900-to-1,100- word, five (or more)-paragraph literary analysis of Kate Chopin’s “The Story of an Hour.” Choose a specific topic from the handout. Be sure that your essay focuses on a single main point, clearly stated in the thesis. Don’t try to write every thought that you have about the story; narrow your topic so that you can cover it completely in 1,000 words. I encourage you to visit the ASC with these assignment instructions before you begin your draft.

25. Writing Assignment: Critical Analysis of “The Story of an Hour”
Your essay must contain an introduction paragraph that includes the author’s name, title, genre, and theme and ends with the thesis statement. The essay must also include three or more body paragraphs providing specific “evidence” or details (including direct quotes from the story, at least one per body paragraph), and a concluding paragraph that returns to the idea of the thesis and provides a sense of closure. Also, be sure you complete and submit all five steps in the writing process: 1. brainstorming/prewriting 2. organizing/outline with thesis statement 3a. drafting (the first draft) 4. revising (SmarThinking/Academic Success Center AND group discussions), 3b. drafting again (the second draft), and 5. proofreading (at least two classmates). The final version of the essay is due on MyHCC / Canvas before class begins on the due date. Final essays will NOT be accepted if you do not participate in and submit all five steps!

26. Thesis for Critical Analysis
Remember, the literary essay is meant to offer and investigate an interpretation of the work.
It is NOT a summary!
To decide on a controlling idea for a critical analysis, consider the reading strategies discussed in pages of your textbook:
Formalist (How does the language or style used affect the reader?)
Biographical (How does the work reflect aspects of the author’s life?)
Psychoanalytical (Is there anything Freudian in the work? Why?)
Historical (How did or does the time period affect the writer or reader?)
Gender (Does the work have a feminist or homosexual level of meaning?)
Mythological (Does the work echo a universal story? If so, why?)
Reader-Response (Consider your personal reactions to the work.)

27. "The Story of an Hour" and Critical Approaches to Literature
By Kate Chopin

28. Active Reading: A Formalist Approach
Consider DICTION—how the author’s use of descriptive language such as ADJECTIVES, ADVERBS, and VIVID VERBS as well as figurative language such as METAPHORS, SIMILES, and SYMBOLS helps develop the character and the conflict of the story.
metaphor (p. 327): a figure of speech, not meant to be factually true, in which one thing is compared or substituted for something else…
simile (p. 335): … a figure of speech whereby two unlike objects are compared to each other with the word like or as…
symbol (p. 336): … an element that stands for something beyond its literal meaning in the text…

29. Sentence 1 (Paragraph 1)
“heart trouble” — Mrs. Mallard is weak or delicate; also, what does “heart” symbolize?
“great care,” “gently” — notice the adjectives and adverbs
“afflicted” — notice that this verb suggests passivity, victimhood
“her husband’s death” — the initial conflict or problem of the story
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.
How does this physical description affect your understanding of the character?

30. Paragraph 2
How do Josephine and Richards think of Louise?
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband’s friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the rail- road disaster was received, with Brently Mallard’s name leading the list of “killed.” He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.
Adjectives: “broken,” “veiled,” “half,” “second,” “careful,” “tender,” “sad”
Adverbs: “too,” “near,” “only,” “less”
Vivid verbs: “revealed,” “concealing,” “leading,” “assure,” “hastened,” “forestall,” “bearing”
Repetition: “less careful, less tender”

31. Paragraph 3 Adjectives: “many,” “paralyzed,” “sudden,” “wild”
How does this physical description affect your understanding of the character?
She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister’s arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.
Adjectives: “many,” “paralyzed,” “sudden,” “wild”
Adverbs: “not,” “at once,” “alone”
Vivid verbs: “did not hear,” “accept,” “wept,” “had spent,” “would have”
Figurative language: “storm of grief” (nature imagery)
Why is this emotion described like something in nature?
Do you think Josephine and Richards understand Louise?

32. There stood, facing the open window, a comfortable, roomy armchair
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.  
      She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.
There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.        
She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.
Why does Chopin repeat this word?
Why is the season significant?
How does this physical description affect your under-standing of the character?

33. She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.
How do these physical descriptions affect your understanding of the character?
There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.
      Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will—as powerless as her two white slender hands would have been.

34. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: “free, free, free!” The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulse beat fast, and the coursing blood warmed and relaxed every inch of her body.        
She did not stop to ask if it were or were not a mon- strous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial.
      She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome.
Why does Chopin repeat this word?
How does this physical description affect your understanding of Louise?
How does this physical description affect your understanding of the character of Brently?

35. “Free! Body and soul free!” she kept whispering.
There would be no one to live for her during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.
      And yet she had loved him—sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!  
      “Free! Body and soul free!” she kept whispering.
Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. “Louise, open the door! I beg; open the door—you will make yourself ill. What are you doing, Louise? For heaven’s sake open the door.”
Why does Chopin repeat this word again?
How does Josephine think of Louise? Does she understand her sister?

36. "The Story of an Hour" and Critical Approaches to Literature
“Go away. I am not making myself ill.” No; she was drinking in a very elixir of life through that open window.  
      Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.  
      She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom.
Repeated word
Why is the season significant?
How does this physical description affect your understanding of the character?
Tues., 1/21/14, and Wed., 1/22/14

37. But Richards was too late.
Some one was opening the front door with a latch-key. It was Brently Mallard who entered, a little travel-stained, composedly carrying his gripsack and umbrella.
He had been far from the scene of accident, and did not even know there had been one. He stood amazed at Josephine’s piercing cry; at Richards’ quick motion to screen him from the view of his wife.  
      But Richards was too late.  
      When the doctors came they said she had died of heart disease—of joy that kills.
How does this physical description affect your understanding of the character of Brently?
Do Josephine, Richards, and the doctors understand Louise?