3.  Differences between men & women › Assumption that gender determines everything › Literary canon must be expanded to include “traditional” female dominant genres  Journals  Diaries  Personal letters › Note differences in topics/issues about which men & women write & the perspectives from which they write about them

4.  Women in power or power relationships between men & women › Note the social, economic, and political exploitation of women  Do women have power and what type is it? › Society’s treatment of all constituents with equality, and literature as a means b which inequities are identified, protested, & perhaps rectified › Division of labor and economics between men & women › Interaction between men & women with each other in variety of relationships  Female subservience  Political and economic equality

5.  The female experience › Examine aspects of feminine life  Point of view—from male or female POV  Narrator’s (male or female) treatment of events › Female personality stands independently from male personality › Examine the creative and life-giving role of femininity › Explore concept that men & women are incomplete without each other

7.  Examine conflicts, characters, dreams, symbols—similar to formalist approach  Character’s outward behavior › Conflict with inner desires › Reflect undiscovered inner desires

8.  Examine any Oedipal connotations › Son’s desire for mother › Father’s envy of and rivalry of son & mother’s attention › Daughter’s desire for father (Electra complex--Jung) › Mother’s envy of and rivalry of daughter & father’s attention  All operate on subconscious level to avoid breaking serious social mor é

9.  Meaning of dreams: review Freud’s Interpretation of Dreams  In dreams, a person’s subconscious desires are revealed › What a person cannot express due to societal rules is expressed in dreams › People unaware until subconscious operates unchecked in sleep

10.  Subconscious—largest part of human personality › Id: basic desire—no sense of conscience— inner child—no guilt—demand immediate gratification › Superego: opposite of id—sense of conscience—guilt—learned through parental instruction & societal rules › Ego: balance of id & superego—desires of id filtered through superego—realizes id must be satisfied, but that there are socially acceptable ways to achieve that satisfaction

11.  Essential relationship exists between author & the work—similar to biographical approach  Psychoanalysts argue that there is always something of the author in the work  This aspect of psychoanalytic view is subjective & a somewhat controversial approach

12.  What is known about author’s personality is used to explain or interpret a literary work  Reference to a literary work establishes an understanding of the author’s mindset  Studying the work of an author means knowing the author as a person  Author may put his/her repressed desires in the work—pay attention to behaviors that aren’t socially “normal”

13.  Closely related to Psychoanalytical theory  Archetypes developed by Jung, a student of Freud  Looking for symbols  Humans were born innately knowing certain archetypes › Evidence lies in the fact that some myths are repeated throughout history in cultures and eras that could not have possibly had contact with one another

14.  Archetypal Characters › HERO  Search for self-identity results in own destruction  “orphaned” prince: ignorant of heritage until rediscovered › SCAPEGOAT  Innocent character on whom blame is placed or assumes blame  Punished in place of guilty party—which is often society › LONER/OUTCAST  Separated from society  Underdog  Guilt-ridden figure in search of redemption

15.  Archetypal Characters › VILLAIN  Personification of evil  Unmotivated malice  “Mad scientist” or bully › TEMPTRESS  Possesses what the male (HERO) desires & uses it as means to his destruction › EARTH MOTHER  Nurturing, life-giving aspects of femininity › SAGE  Wise one, teacher, mentor  Stern authority figure  Oracle, prophet, sooth-sayer

16.  Archetypal Images › COLORS  Red—blood, anger, passion, violence  Gold—greatness, wealth, value  Green—fertility, luxury, growth  Blue—holiness, peace, serenity  White—purity, divine, blessed › NUMBERS  3 = Christian trinity; 4 = seasons; etc. › WATER  Source of life, sustenance, cleansing, purification, baptism › FIRE  Both protective & destructive  Symbolizes human knowledge & industry › FOUR ANCIENT ELEMENTS  Fire, water, air, earth

17.  Archetypal Images › GARDENS  Natural abundance, New birth, Hope, Eden › SHAPES  Triangle = trinity; circle = eternity › CELESTIAL BODIES  Sun: masculine—giver /destroyer of life  Moon: feminine—passage of time/controls course of human events—seedtime, harvest, etc. › MASCULINE: columns, towers, boats, trees, etc. › FEMININE: bodies of water, caves, doorways, windows › CAVES  Represents the womb & the grave, entrance to underworld › YIN & YANG: balance

18.  Archetypal Situations › QUEST  Hero’s endeavor to fulfill destiny › RENEWAL OF LIFE  Death & rebirth; resurrection in cycle of seasons or day › INITIATION  Coming of age; rites of passage › THE FALL  Loss of innocence; devolution of paradisiacal life to a tainted life › REDEMPTIVE SACRIFICE: voluntary loss--life

19.  Archetypal Situations › CATALOG OF TASKS  i.e. labors of Hercules › END OF THE WORLD  Apocalyptic battle between good & evil  Armageddon; Ragnarok; Great Flood › TABOO  Culturally forbidden act—incest, patricide, etc. › BANQUET  Fellowship, nourishment of body & soul, symbol of salvation, Heaven

20.  Based on the philosophy of Karl Marx, a German philosopher and economist.  “Dialectical Materialism”  Major argument was that the means of production in society controlled the society— whoever owned the factories “owned” the culture.  The means of production (i.e., the basis of society) would be placed in the hands of the masses who actually operated production, not in the hands those few who owned it.

21.  Marxism asserts that literature is a reflection of culture and that culture can be affected by literature. (Marxists believed literature could instigate revolution.)  Marxism is linked to Freudian theories by its concentration on the subconscious  Freud dealt with the individual subconscious, while Marx dealt with the political subconscious.  Marx believed that oppression exists in the political subconscious of a society—social pecking orders are inherent to any group of people.

22.  Economic Power › A society is shaped by its forces of production.  Those who own the means of production dictate › Two main classes of society according to the Marxist framework  Bourgeoisie (the people with the means of production and wealth)  Proletariat (the people who operate the means of production and are controlled by the bourgeoisie). › Since the bourgeoisie own the means of production, and, therefore, the money in a society, they can manipulate politics, government, education, art, and the media. › Capitalism is bad because it makes people want things.  people shop for commodification (wanting things not for their innate usefulness but for their social value). When one has money, one shows it by buying things—jewelry, large houses, fancy cars, etc. › Commodification is one way the bourgeoisie keep the proletariat down.  When the proletariat manage to gain some sort of status symbol, the bourgeoisie buy something newer and better, thus making the proletariat struggle more.

23.  Materialism v. Spirituality › Society is not based on ideals or abstractions, but on things. › The material world shows us reality.  The material world is the only non-subjective element in a society.  Money and material possessions are the same by every measure within a society, whereas spirituality is completely subjective. › People are not destroyed by spiritual failure, only material failure.

24.  Class Conflict › Any Capitalist society will be at odds between classes. › The owners and the workers will have different ideas about the division of the wealth generated, and the owners will ultimately make the decision. › This constant conflict, or “dialectical materialism,” is what instigates change.  Commodification is one way the bourgeoisie keep the proletariat down. › The bourgeoisie make the system seem like the only logical one, so the proletariat are trapped.  They are led to have pride in their station, thus preventing them from wanting to overthrow their bosses (the smaller and actually less-powerful group). › Marx called on the proletariat to reject the social structure of the bourgeoisie, the rules that would keep them subservient forever, and form their own values.  Such a course would be the only way to escape the oppression, for the proletariat could never defeat the bourgeoisie on its own terms.  For the workers to win, they’d have to establish new terms.

25.  Art, Literature, and Ideologies › Art and literature are vehicles for the bourgeoisie to instill their value system on the proletariat.  The arts can make the current system look attractive and logical, thus luring the workers into complacency. › Works of art and literature are enjoyable to experience, so the audience is unaware of being swayed, which is dangerous. › The bourgeoisie can easily take control of artistic output because they are the entity that is funding it.  Since the bourgeoisie are bankrolling the writers and the painters by publishing the books and buying the art, the artist must take pains not to offend them.  Anything that is offensive to the bourgeoisie will simply not be published or sold. › Any artist who wishes to criticize the bourgeoisie must do so in a subtle way (satire, irony, etc.).

26.  New Historicism asserts that a direct comparison between the culture as presented in the text and as that culture really was is impossible for two reasons:  First, the “truth” of a foreign or past culture can never be known as established and unchangeable. “Unknown” histories often contradict “traditional” (i.e., the winner’s) history, there is no way to really know the ironclad truth.  Second, while the text under consideration does indeed reflect the culture in which it was written (and to some degree in which it is set), it also participates in the culture in which it is written. In other words, its very existence changes the culture it “reflects.”

27.  Traditional history is, by its nature, a subjective narrative, usually told from the point of view of the powerful. › The “losers” of history do not have the means to write their stories, nor is there usually an audience interested in hearing them. › Most cultures, once dominated by another, are forced to forget their past. › To maintain its sovereignty, the dominant culture simply does not allow the old, defeated culture to be remembered.

28.  Traditional history is not only subjectively written, it is also read and discussed subjectively. › Although modern readers say they take history at face value, no one can help but compare the past to the present as a means of understanding it, which makes it subjective.

29.  The powerless also have “historical stories” to relate that are not to be found in official documents, mostly because they played no hand in creating them.  No reader can claim to have the “truth” of a text or event; or even that an understanding of the “truth” is possible. At best, one can acknowledge the “truth” of a particular point of view.

30.  The questions to ask are not: › “Were the characters based on real people?” › “Are any characters or events in the text drawn from the author’s life and experiences?” or › “Is the text an accurate portrayal of the time period in which it is set?”  Instead, ask: › “What view or understanding of the relevant culture does this text offer?” and › “How does this text contribute to or shape the understanding of the culture it represents?”

31.  The text, rather than being a static artifact of a definable culture, is a participant in a dynamic, changeable culture. › Every time it is read, the reader brings a unique set of experiences and points of view that change the meaning of the text, however slightly.