1. 1 Critical Approaches to Literature Created by Mr. Smithmier 2009-10

2. 2 Objectives Provide students a variety of tools with which to analyze literature Develop a close reading of the works under consideration Work to answer questions about a text

3. 3 Interpreting Literature Interpretation = explore the meaning of Close reading = observation of detail, special use of language, patterns of repetition, imagery, symbols, terms, main ideas

4. 4 Close Reading take text seriously enough to read and reread search for details examine word choice look for symbolic uses of language ask why? note allusions work to answer questions about text

5. 5 Overview of interpretive strategies Text provides meaning and reader/critic’s job is to find it Reader response = meaning is created by reader during reading Context based interpretation = consider text in relation to biographical, historical, cultural information

6. 6 Reader Response Criticism Discusses in terms of what the reader brings to and from the work If a tree falls in the forest and no one hears it, does it make a sound? “If a text does not have a reader, does it exist or have meaning?”

7. 7 Reader Response Reader →MEANING←Text

8. 8 Traditional Approaches: Historical / Biographical Criticism a literary work is viewed mainly as a reflection of the author’s life and times or of the character’s life and times Examples: Tale of Two Cities – French Revolution Grapes of Wrath – American Depression

9. 9 a larger function of literature is to teach morality and to probe philosophical issues. Interpret literature within the context of the philosophical thought of the period. Examples: The Scarlet Letter – effect of secret sin The Stranger – existentialism Traditional Approaches: Moral / Philosophical Criticism

10. 10 Formalist Criticism Process demands close, intensive reading, understanding of denotation and connotation of words, allusions, awareness of structure and patterns Constants – account for everything: terms, imagery, metaphor, devices, tension, irony.

11. 11 Formalist Criticism History – early 20 th century. Also New Criticism, “the work of art as an object” Author has “let go” of the work and it now must be judged on its own merits (Salinger) Catcher in the Rye: no comment Limitations: absorption with detail, obvious preference with certain poets, lack of success with novels, overlooks feelings and emotions.

12. 12 Psychological Criticism AKA Freudian (Sigmund Freud) – one of most controversial, most abused, least appreciated Can provided many clues for solving a work’s symbolic mysteries Primarily 20 th century

13. 13 Freud’s Theories 3 premises (mental activity) –Unconscious –Human behavior motivated by sexuality –Certain desires are repressed

14. 14 Freud’s Theories 3 psychic zones –Id = primary source of psychic energy. Source of aggression/desire. If unchecked leads to self destruction. –Ego = regulates, rational governing agent. Largely unconscious, yet would be considered the conscious mind. Mediates within and without. –Superego = moral censor, place of conscience and pride.

15. 15 Mythological & Archetypal Criticisms Mythological seeks “very deep chord” within human nature. Connected with religion, anthropology, and cultural history Archetypal = universal symbols Example: Huck Finn

16. 16 Feminist Criticism Mainly political = concerned with differences and marginalization of women. 3 fold purpose –Expose patriarchal prejudices –Promote discovery of women/minority literature –Examine social, cultural, psychosexual context of literature and criticism –Example: “To His Coy Mistress”

17. 17 Additional Approaches Structuralism/Post-Structuralism Marxist New Historicism Aristotelian Rhetorical Genre

18. 18 Conclusion How do we find all this information? Is there a symbol hunting class? This is a close reading of literature. Here are tools to judge and discern (critically analyze) literature.

19. 19 FINAL WARNING!! ANY INTERPRETATION OF THE LITERATURE MUST BE SUPPORTED LOGICALLY AND FULLY USING THE TEXT. THE ULTIMATE TEST OF AN INTERPRETATION IS CONSISTENCY WITHIN THE TEXT.