1. (c.) Psychoanalytic Criticism Psychoanalytic Criticism was first mooted by the Austrian neurologist Sigmund Freud. It deals with the mind of the author at the time of writing hence the “psycho” aspect of it. The text is seen as a dream and the readers unravel the mysteries of the dram as they read and endeavor to gain understanding of the text. In this theory‚ the author’s mind‚ the impact of the text on the reader and the third character are of paramount importance. This theory came from psychology
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NEW CRITICISM Introduction New Criticism The name New criticism came into popular use to describe this approach to understanding literature with the 1941 publication of John Crow Ransom’s The New Criticism. This contains Ransom’s personal analysis of several of his contemporaries among theories and critics. Here he calls for an ontological critic (one who will recognize that poem is a concrete entity) like Leonardo Da Vinci’s “”Mona Lisa”. In New Criticism‚ a poem can be analyzed to discover
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When you are criticized‚ how do you respond? Criticism can be hard to accept‚ because no one wants to constantly be told they are wrong. Accepting and learning from criticism is a necessary part of the growth mindset. The Bible tells us that we need to accept this type of correction and be thankful for it‚ because God may be speaking to us and providing an opportunity for personal growth. God tells us in Proverbs 27:17‚ “As iron sharpens iron‚ so one person sharpens another.” In this passage of
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DEFINITION OF POSTCOLONIAL CRITICISM A type of cultural criticism‚ postcolonial criticism usually involves the analysis of literary texts produced in countries and cultures that have come under the control of European colonial powers at some point in their history. Alternatively‚ it can refer to the analysis of texts written about colonized places by writers hailing from the colonizing culture. In Orientalism (1978)‚ Edward Said‚ a pioneer of postcolonial criticism and studies‚ focused on the way
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of Literary Criticisms? * New Criticism / Formalism - This type of criticism concerns itself with the parts of a text and how the parts fit together to make a whole. Because of this‚ it does not bring in any information outside of the text: biography of the author‚ historical or literary allusions‚ mythological patterns‚ or the psychoanalytical traits of the characters (except those traits specifically described in the text.) * Archetypical or Mythic – This type of criticism looks at traditional
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Douglass’s fifth of July. In J. A. Kuypers (Ed.)‚ Rhetorical criticism‚ perspectives in action (pp. 39-59). Lanham‚ MD: Lexington. F. I. Hill wrote the article The “Traditional” Perspective in 1972; later edited in 2009. This article was meant to inform readers about how to apply traditional criticism through the use of the theory of rhetoric. It was divided into two sections; the first being an overview of traditional criticism‚ and the second being the application of this in his critical essay
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The Purpose of Criticism: Literary criticism has at least three primary purposes. (1) To help us resolve a difficulty in the reading. The historical approach‚ for instance‚ might be helpful in addressing a problem in Thomas Otway’s play Venice Preserv’d. Why are the conspirators‚ despite the horrible‚ bloody details of their obviously brutish plan‚ portrayed in a sympathetic light? If we look at the author and his time‚ we see that he was a Tory whose play was performed in the wake of the Popish
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BIOGRAPHICAL CRITICISM Biographical criticism begins with the simple but central insight that literature is written by actual people and that understanding an author’s life can help readers more thoroughly comprehend the work. Anyone who reads the biography of a writer quickly sees how much an author’s experience shapes—both directly and indirectly—what he or she creates. Reading that biography will also change (and usually deepen) our response to the work. Sometimes even knowing a single important
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In The Red Convertible Louise Erdrich uses the foreshadowing and the symbolism of boots and water to show the death of Stephan and the car as a symbol of the loss of a lifelong brotherhood in the last 40 lines. Louise Erdrich uses the symbol of boots to show the weight of the PTSD from war in Stephan’s life to the point where he was alive‚ he was truly not living a healthy life because he was weighted down by the war and his experiences this is shown when he first arrived home and would not leave
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Queenie 1097300104 E5B Data Analysis First Part Personal information: including the participants’ gender‚ age‚ educational background‚ marital status and monthly income. Gender As Figure 1 showed‚ there were 45% of female participants and 55% of male. The numbers of the participants of each gender were very close. Age The respondents were all my friends on Facebook; as the result‚ the majority (73%) of their age was in the range of 16-20‚ as seen in Figure 2. Figure 1: Gender
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