Literary Criticism: An Introduction to Theory and Practice, 5/e presents the thirteen basic schools of twentieth-century literary theory and criticism in their historical and philosophical contexts. Unlike other introductions to literary criticism, this book explores the philosophical assumptions of each school of criticism and provides a clear methodology for writing essays according to each school's beliefs and tenets. Russian Formalist Criticism has been honored as a Choice Outstanding Academic Book of the Year by the American Library Association. And many of you out there who deign to read my natterings here, might just be asking, “What a strange little volume for someone to lose their Good Reads virginity by?
And what a bodacious lamp these essays were for my searching mind, glowing upon the details and entrails of novels and stories.
Reading Tomashevsky’s dissection of the robust and still living body of Gogol’s The Overcoat was a shocking revelation equal to seeing the heartbeats pulsing through the carefully exposed intestines in an operating theater.
E.) Dante Alighiere (1265-1321) Giovanni Boccaccio (1313-1375) Sir Philip Sydney ((1554-1586) John Dryden (1631-1700) Joseph Addison (1672-1719) Alexander Pope (1688-1744) William Wordsworth (1770-1850) Perce Bysshe Shelley (1792-1822) Hippolyte Adolphe Taine (1828-1893) Matthew Arnold (18822-1888) Henry James (1843-1916) Mikhail Bakhtin (1895-175) Modern Literary Criticism 3 Russian Formalism and New Criticism Russian Formalism Bridging the Gap Between Russian Formalism and New Criticism Applying Russian Formalism to a Literary Text New Criticism Historical Development Assumptions Methodology Questions for Analysis Critiques and Responses Critical Essay “The Formalists Critics, Cleanth Brooks 4 Reader-Oriented Criticism Historical Development I. ” Roland Barthes Critical Essay “Convention and Meaning” Jonathan Culler 6 Psychoanalytic Criticism Historical Development Sigmund Freud Model of the Human Psyche: Dynamic Model Economic Model Typographical Models Freud’s Pre-Oedipal Development Phase The Oedipus, Castration, and Electra Complexes The Significance of Dreams Literature and Psychoanalysis Carl G.
Rosenblatt Assumptions Methodology Structuralism Phenomenology Hans Robert Jauss Wolfgang Iser Subjective Criticism Norman Holland David Bleich A Two-Step Methodology Questions for Analysis Critiques and Responses Critical Essay: “The Case for Reader-Response Analysis,” Stanley Fish 5 Modernity and Postmodernism: Structuralism and Deconstruction Modernity Poststructuralism and Postmodernism Modernity and Modernism Structuralism: Its Historical Development Pre-Sausseren Linguistics Saussure’s Linguistic Revolution The Structure of Language Langue and Parole Saussure’s Redefinition of a Word Assumptions of Structuralism Methodologies of Structuralism Claude Levi-Strauss Roland Barthes Vladimir Propp and Narratology Tvetan Todorov and Gerard Genette Jonathan Culler A Model of Interpretation From Structuralism to Poststructalism: Deconstruction Deconstruction: Its Historical Development Deconstruction: Its Beginnings Derrida’s Starting Place: Structuralism Derrida’s Interpretation of Saussure’s Sign Assumptions of Deconstruction Transcendental Signified Logocentrism Binary Oppositions Phonocentrism Metaphysics of Presence Methodology Acknowledging Binary Operations in Western Thought Arche-writing Supplementation Differance Deconstructive Suppositions for Textual Analysis Deconstructive: A New Reading Strategy American Deconstructionists Questions for Analysis Critiques and Responses Critical Essay “What Is Criticism?
Tomashevsky’s essay reveals the themes, motifs (dynamic vs. plot and the relationship of the hero to all those devices that create the robust bones of stories and novels. My father once tried to hammer the point into the confused webbing of my teenage mind on a fine spring day, complete with twittering birds and cheek warming sunshine.
Written masterfully, the essay throws light upon the jewels in the robust and rich anterooms that provide the super structure of plot, allowing readers to tramp about the tunnels of novels and stories to reach the next elegantly appointed chamber and shout, “Aha! On the back patio of my boyhood home, he was hunkered down over his fruit salad, empty spoon hovering impressively over the dish as he paraphrased the romantic composer Johannes Brahms who once, intoned, I suspect with a righteous and stentorian attitude, something on the order of, “Structure gives you freedom!A section from Boris Tomashevsky’s “Thematics” (1925) inventories the elements of stories.In “The Theory of the ‘Formal Method’” (1927), Boris Eichenbaum defends Russian Formalism against various attacks.An able champion, he describes Formalism’s evolution, notes its major figures and works, clears away decayed axioms, and rescues literature from “primitive historicism” and other dangers.These essays set a course for literary studies that led to Prague structuralism, French semiotics, and postmodern poetics.Having read one of my first scribblings, he handed me a Xeroxed copy of Boris Tomashevsky’s Formalist essay, Thematics entombed in this handy little volume.Standing before an open door, I took the bright bit of Formalist thought into my naïve hands while my dear professor Mark Davidov offered me a wise grin roughly translatable into, “Alright punk, let’s see if you dare run this bit of tense floss through the tight, moist catacombs encased in that skull of yours!Victor Shklovsky’s pioneering “Art as Technique” (1917) defines the literary as a way to make us see familiar things as if for the first time.His 1921 essay on Tristram Shandy makes that eccentric novel the centerpiece for a theory of narrative.By then, however, they had produced essays that remain among the best defenses ever written for both literature and its theory.Included here are four essays representing key points in the formalists’ short history.