Literary Theories

D l t fD l t f

Literary TheoriesSession 3

Development of Development of Literary TheoriesLiterary TheoriesLiterary Theories Literary Theories

Nature of Literary TheoryNature of Literary TheoryNature of Literary TheoryNature of Literary Theory"Literary theory" is the body of ideas and "Literary theory" is the body of ideas and y y yy y ymethods we use in the practical reading of methods we use in the practical reading of literature. literature. By literary theory we refer not to the meaning ofBy literary theory we refer not to the meaning ofBy literary theory we refer not to the meaning of By literary theory we refer not to the meaning of a work of literature but to the theories that reveal a work of literature but to the theories that reveal what literature can mean. what literature can mean. Lit th i d i ti f th d l iLit th i d i ti f th d l iLiterary theory is a description of the underlying Literary theory is a description of the underlying principles, one might say the tools, by which we principles, one might say the tools, by which we attempt to understand literature. attempt to understand literature. All literary interpretation draws on a basis in All literary interpretation draws on a basis in theory but can serve as a justification for very theory but can serve as a justification for very different kinds of critical activitydifferent kinds of critical activitydifferent kinds of critical activity. different kinds of critical activity.

Assignment 1BAssignment 1BAssignment 1BAssignment 1BTopic Person in Charge

Structuralist Theories ASEP SHOFIAN SYAHRULLAH, INDIRAStructuralist Theories ASEP SHOFIAN SYAHRULLAH, INDIRA KARYANITA, MARWANTO, TRI YANINGSIH

Reader-oriented Theory DESI TRI LISTYO PAMUNGKAS, MUJIONO, RIZKY SETYANINGRUM ULFAH CHASANAHRIZKY SETYANINGRUM, ULFAH CHASANAH

Marxist Theories MUAMAR CHADAFI, SAMINAH, ERMA NURHAYATI FIRDAUS, ARI SUCIATI

Feminist Theories FRIDA ALFANI MASLAHAH, ISYFI ‘AFIAN, SRI HARTINI

Post-modernist Theories FIBRIAN ANINDYAWATI, ANA WIYASA NUGRAHAWATI, ETIKA DEWI KUSUMANINGTYAS, SUSI WAHYUNINGSIH

Post-colonialist Theories NISWAN ZAMZAMI, FAJAR NOVITASARI, SRIPost colonialist Theories NISWAN ZAMZAMI, FAJAR NOVITASARI, SRI AMBAR WIYATI, SUHARTINI

It is literary theory that formulates the relationship It is literary theory that formulates the relationship between author and work; literary theory develops thebetween author and work; literary theory develops thebetween author and work; literary theory develops the between author and work; literary theory develops the significance of race, class, and gender for literary study, significance of race, class, and gender for literary study, both from the standpoint of the biography of the author both from the standpoint of the biography of the author and an analysis of their thematic presence within texts.and an analysis of their thematic presence within texts.yyLiterary theory offers varying approaches for Literary theory offers varying approaches for understanding the role of historical context in understanding the role of historical context in interpretation as well as the relevance of linguistic and interpretation as well as the relevance of linguistic and

i l t f th t ti l t f th t tunconscious elements of the text. unconscious elements of the text. Literary theorists trace the history and evolution of the Literary theorists trace the history and evolution of the different genresdifferent genres——narrative, dramatic, lyricnarrative, dramatic, lyric——in addition to in addition to th t f th l d th h tth t f th l d th h tthe more recent emergence of the novel and the short the more recent emergence of the novel and the short story, while also investigating the importance of formal story, while also investigating the importance of formal elements of literary structure. elements of literary structure. Lastly literary theory in recent years has sought toLastly literary theory in recent years has sought toLastly, literary theory in recent years has sought to Lastly, literary theory in recent years has sought to explain the degree to which the text is more the product explain the degree to which the text is more the product of a culture than an individual author and in turn how of a culture than an individual author and in turn how those texts help to create the culturethose texts help to create the culturethose texts help to create the culture. those texts help to create the culture.

What Is Literary Theory?What Is Literary Theory?What Is Literary Theory?What Is Literary Theory?"Literary theory," sometimes designated "critical "Literary theory," sometimes designated "critical y y, gy y, gtheory," or "theory," and now undergoing a theory," or "theory," and now undergoing a transformation into "cultural theory" within the transformation into "cultural theory" within the discipline of literary studies can be understooddiscipline of literary studies can be understooddiscipline of literary studies, can be understood discipline of literary studies, can be understood as the set of concepts and intellectual as the set of concepts and intellectual assumptions on which rests the work of assumptions on which rests the work of ppexplaining or interpreting literary texts. explaining or interpreting literary texts. Literary theory refers to any principles derived Literary theory refers to any principles derived f i t l l i f lit t t ff i t l l i f lit t t ffrom internal analysis of literary texts or from from internal analysis of literary texts or from knowledge external to the text that can be knowledge external to the text that can be applied in multiple interpretive situations.applied in multiple interpretive situations.app ed u t p e te p et e s tuat o sapp ed u t p e te p et e s tuat o s

PLATO WILLIAM WORDSWORTH ARISTOTLE SAMUEL TAYLOR COLERIDGE

HYPPOLITE TAINE

VIKTOR SHKLOVSKY YURY TYNYANOV

HYPPOLITE TAINEGEORGE PLEKHANOV

GEORG LUKACSLUCIEN GOLDMANN

ROMAN JAKOBSONVLADIMIR PROPP

JOHN CROWE RANSOMCLEANTH BROOKES

SIMONE DE BEAUVOIRSIMONE DE BEAUVOIRKATE MILLETTKATE MILLETT

LOUISE ROSENBLATT STANLEY FISH HANS ROBERT JAUSSHANS ROBERT JAUSS

PLATO WILLIAM WORDSWORTH TRADITIONALARISTOTLE SAMUEL TAYLOR COLERIDGETRADITIONAL

HYPPOLITE TAINE

VIKTOR SHKLOVSKY YURY TYNYANOV

STR

UHYPPOLITE TAINE

GEORGE PLEKHANOVGEORG LUKACS

LUCIEN GOLDMANN

ROMAN JAKOBSONVLADIMIR PROPP

JOHN CROWE RANSOM

UC

TUR

AL

CLEANTH BROOKES

LOUISE ROSENBLATT STANLEY FISH

LISM

POST-STRUCTURALISM

SIMONE DE BEAUVOIRSIMONE DE BEAUVOIRKATE MILLETTKATE MILLETT

HANS ROBERT JAUSS

KATE MILLETTKATE MILLETT

PLATOHYPPOLITE TAINE

GEORGE PLEKHANOVSOCIOLOGY OF LITERATUREARISTOTLE

GEORGE PLEKHANOVGEORG LUKACS

LUCIEN GOLDMANN

SOCIOLOGY OF LITERATUREMARXIST CRITICISM

WILLIAM WORDSWORTH SAMUEL TAYLOR COLERIDGE

VIKTOR SHKLOVSKY YURY TYNYANOV

ROMAN JAKOBSON ROMANTICISMSAMUEL TAYLOR COLERIDGEROMAN JAKOBSONVLADIMIR PROPP

RUSSIAN FORMALISMNEW CRITICISM

JOHN CROWE RANSOMCLEANTH BROOKES

LOUISE ROSENBLATT STANLEY FISH HANS ROBERT JAUSS

NEW CRITICISM

READER-RESPONSERECEPTION

SIMONE DE BEAUVOIRSIMONE DE BEAUVOIR

HANS ROBERT JAUSS

SIMONE DE BEAUVOIRSIMONE DE BEAUVOIRKATE MILLETTKATE MILLETT

FEMINIST CRITICISM

mimetic

Sociology of lit.Genetic Structuralism

Marxist

Russian FormalismNew CriticismStructuralism

Feministobjective

pragmaticStructuralismSemioticsStylisticsReader-response

ReceptionRomanticismFreudian

p g

Existentialismexpressive

Plato & AristotlePlato & Aristotle (384-322BC)Plato & Aristotle Plato & Aristotle (384 322BC)

Plato: Literature is aPlato: Literature is a mimesismimesis (imitation) of(imitation) ofPlato: Literature is a Plato: Literature is a mimesismimesis (imitation) of (imitation) of aspects of the universeaspects of the universeAristotle : Literature is a reAristotle : Literature is a re presentation/presentation/Aristotle : Literature is a reAristotle : Literature is a re--presentation/ presentation/ rere--creation of aspects of the universe/lifecreation of aspects of the universe/life

Hyppolite TaineHyppolite TaineHyppolite Taine Hyppolite Taine

Literature is no “mere individual play ofLiterature is no “mere individual play ofLiterature is no mere individual play of Literature is no mere individual play of imagination, the isolated caprice of an imagination, the isolated caprice of an excited brain, but a transcript of excited brain, but a transcript of ppcontemporary manners, a manifestation of contemporary manners, a manifestation of a certain kind of mind”a certain kind of mind”Literature is a “portable mirror which can Literature is a “portable mirror which can be conveyed everywhere and which is be conveyed everywhere and which is

t i t f fl ti ll tt i t f fl ti ll tmost convenient for reflecting all aspects most convenient for reflecting all aspects of life and nature”of life and nature”

George PlekhanovGeorge PlekhanovGeorge PlekhanovGeorge Plekhanov“Art begins when the human being recalls within “Art begins when the human being recalls within g gg ghimself feelings and ideas that he has had under himself feelings and ideas that he has had under the influence of the reality surrounding him and the influence of the reality surrounding him and gives them a certain figurative expression ”gives them a certain figurative expression ”gives them a certain figurative expression.gives them a certain figurative expression.Art and literature are bound to the means of Art and literature are bound to the means of production and property relations in a largelyproduction and property relations in a largelyproduction and property relations in a largely production and property relations in a largely deterministic nexus.deterministic nexus.Art has significance only when it depicts or Art has significance only when it depicts or evokes or conveys actions, emotions and events evokes or conveys actions, emotions and events that are of significance to society.that are of significance to society.

Georg LukacsGeorg LukacsGeorg LukacsGeorg Lukacs

All literature is written from the point ofAll literature is written from the point ofAll literature is written from the point of All literature is written from the point of view of a class, a world view, and thus view of a class, a world view, and thus implies a perspective.implies a perspective.p p pp p pLiterature is in no sense a passive cultural Literature is in no sense a passive cultural object, but part of the struggle, which object, but part of the struggle, which j p ggj p ggcapitalist society itself engenders through capitalist society itself engenders through socialism, to abolish the distorting, socialism, to abolish the distorting, i h f t d di h f t d dinhuman consequences of an extended inhuman consequences of an extended social division of labor.social division of labor.

Lucien GoldmannLucien GoldmannLucien GoldmannLucien Goldmann

Literature is a humanity fact derived fromLiterature is a humanity fact derived fromLiterature is a humanity fact derived from Literature is a humanity fact derived from the consciousness and meaningful the consciousness and meaningful behavior in order to make a balancebehavior in order to make a balancebehavior in order to make a balance behavior in order to make a balance between the subject and the worldbetween the subject and the worldGenetic structuralism presupposes theGenetic structuralism presupposes theGenetic structuralism presupposes the Genetic structuralism presupposes the close relationship between the structures close relationship between the structures of a literary work and the larger structuresof a literary work and the larger structuresof a literary work and the larger structures of a literary work and the larger structures of social realities.of social realities.

William WordsworthWilliam WordsworthWilliam WordsworthWilliam Wordsworth“Poetry is a spontaneous overflow of powerful“Poetry is a spontaneous overflow of powerfulPoetry is a spontaneous overflow of powerful Poetry is a spontaneous overflow of powerful feeling” feeling” The subject matter of poetry is the essential The subject matter of poetry is the essential passions and unelaborated expressions ofpassions and unelaborated expressions ofpassions and unelaborated expressions of passions and unelaborated expressions of humble people.humble people.The property of poetry is all mankind, not of the The property of poetry is all mankind, not of the p p y p yp p y p ycultivated classes alone: “A mad mother, an idiot cultivated classes alone: “A mad mother, an idiot boy, or a child who cannot know of death were boy, or a child who cannot know of death were as appropriate subjects for serious poetry as as appropriate subjects for serious poetry as pp p j p ypp p j p yAschilles or Lear.”Aschilles or Lear.”The elements are simple, belonging rather to The elements are simple, belonging rather to nature than to manners such exist now and willnature than to manners such exist now and willnature than to manners, such exist now and will nature than to manners, such exist now and will probably always exist.probably always exist.

It is essential to poetry that its language be theIt is essential to poetry that its language be theIt is essential to poetry that its language be the It is essential to poetry that its language be the spontaneous and genuine, not the contrived and spontaneous and genuine, not the contrived and simulated, expression of the emotional state of the poet.simulated, expression of the emotional state of the poet.The born poet is distinguished from other menThe born poet is distinguished from other menThe born poet is distinguished from other men The born poet is distinguished from other men particularly by his inheritance of an intense sensibility particularly by his inheritance of an intense sensibility and a susceptibility to passion.and a susceptibility to passion.Th t i t t f ti f t i b itTh t i t t f ti f t i b itThe most important function of poetry is, by its The most important function of poetry is, by its pleasurable resources, to foster and subtilize the pleasurable resources, to foster and subtilize the sensibility, emotions, and sympathies of the reader.sensibility, emotions, and sympathies of the reader.The orientation is towards the artist, the focus of The orientation is towards the artist, the focus of attention is upon the relation of the elements of the work attention is upon the relation of the elements of the work to the poet’s state of mind.to the poet’s state of mind.Being ‘spontaneous’, the dynamics of the overflow are Being ‘spontaneous’, the dynamics of the overflow are inherent in the poet and, perhaps, not within his inherent in the poet and, perhaps, not within his deliberate controldeliberate controldeliberate controldeliberate control

P t ‘ ki t ’ diff t f thP t ‘ ki t ’ diff t f thPoet: ‘a man speaking to man’ different from other Poet: ‘a man speaking to man’ different from other men not in kind but merely in degree of sensibility, men not in kind but merely in degree of sensibility, passions, and power of expression: “the poet thinks passions, and power of expression: “the poet thinks and feels in the spirit of human passions The poetsand feels in the spirit of human passions The poetsand feels in the spirit of human passions …The poets and feels in the spirit of human passions …The poets do not write for Poets alone, but for men.”do not write for Poets alone, but for men.”Audience: those who are not relying on a local or Audience: those who are not relying on a local or transitory taste but on what is the most general and thetransitory taste but on what is the most general and thetransitory taste but on what is the most general and the transitory taste but on what is the most general and the most lasting among polite nations; not the passing and most lasting among polite nations; not the passing and fallible voice of the public but the voice of the people fallible voice of the public but the voice of the people whose eternal and universal norm emerges through whose eternal and universal norm emerges through g gg gtime.time.Diction of poetry: the standard Diction of poetry: the standard language of naturelanguage of nature by by which the language of poetry is to be regulated and which the language of poetry is to be regulated and g g p y gg g p y gjudged: (1) not the language of poets as a class but judged: (1) not the language of poets as a class but that of mankind (2) exemplified in the language of the that of mankind (2) exemplified in the language of the earliest poets who wrote naturally and as men (3) earliest poets who wrote naturally and as men (3) instinctive and spontaneous overflow of feeling intoinstinctive and spontaneous overflow of feeling intoinstinctive and spontaneous overflow of feeling into instinctive and spontaneous overflow of feeling into wordswords

ColeridgeColeridgeColeridgeColeridgeA poem is that species of composition, which opposed to A poem is that species of composition, which opposed to p p p ppp p p ppworks of science, by proposing for its immediate object works of science, by proposing for its immediate object pleasure, not truth; and from all other species (having pleasure, not truth; and from all other species (having this object in common with it) it is discriminated by this object in common with it) it is discriminated by j ) yj ) yproposing to itself such delight from the whole, as is proposing to itself such delight from the whole, as is compatible with a distinct gratification from each compatible with a distinct gratification from each component part. component part. p pp pIt is the art of communicating whatever we wish to It is the art of communicating whatever we wish to communicate, so as both to express and produce communicate, so as both to express and produce excitement but for the purpose of immediate pleasure;excitement but for the purpose of immediate pleasure;excitement, but for the purpose of immediate pleasure; excitement, but for the purpose of immediate pleasure; and each part is fitted to afford as much pleasure, as is and each part is fitted to afford as much pleasure, as is compatible with the largest sum in the whole.compatible with the largest sum in the whole.

The poet, described in ideal perfection, brings the whole The poet, described in ideal perfection, brings the whole soul of man into activity diffuses a tone and spirit ofsoul of man into activity diffuses a tone and spirit ofsoul of man into activity … diffuses a tone and spirit of soul of man into activity … diffuses a tone and spirit of unity, that blends, and fuses, each into each, by that unity, that blends, and fuses, each into each, by that synthetic and magical power, to which we have synthetic and magical power, to which we have exclusively appropriated the name of imagination Thisexclusively appropriated the name of imagination Thisexclusively appropriated the name of imagination. This exclusively appropriated the name of imagination. This power … reveals itself in the balance or reconciliation of power … reveals itself in the balance or reconciliation of opposite or discordant qualities.opposite or discordant qualities.Th f i l d li ht ith th fTh f i l d li ht ith th fThe sense of musical delight, with the power of The sense of musical delight, with the power of producing it, is the gift of imagination.producing it, is the gift of imagination.The greatest poetry is the product of spontaneous The greatest poetry is the product of spontaneous g p y p pg p y p pfeeling, but feeling which, by a productive tension with feeling, but feeling which, by a productive tension with the impulse for order, sets in motion the assimilative the impulse for order, sets in motion the assimilative imagination and organizes itself into a conventional imagination and organizes itself into a conventional g gg gmedium in which the parts and the whole are adapted medium in which the parts and the whole are adapted both to each other and to the purpose of effecting both to each other and to the purpose of effecting pleasure.pleasure.pp

Viktor ShklovskyViktor ShklovskyViktor ShklovskyViktor ShklovskyThe purpose of art is to impart the sensation of The purpose of art is to impart the sensation of p p pp p pthings as they are perceived and not as they are things as they are perceived and not as they are known. The technique of art is to make objects known. The technique of art is to make objects ‘unfamiliar’, to make forms difficult, to increase ‘unfamiliar’, to make forms difficult, to increase , ,, ,the difficulty and length of perception because the difficulty and length of perception because the process of perception is an aesthetic end in the process of perception is an aesthetic end in itself and must be prolongeditself and must be prolongeditself and must be prolonged. itself and must be prolonged. Art is a way of experiencing the artfulness of an Art is a way of experiencing the artfulness of an object; the object is not important."object; the object is not important."

(Shkl k(Shkl k "A t T h i " 12)"A t T h i " 12)(Shklovsky(Shklovsky, "Art as Technique", 12) , "Art as Technique", 12)

Shkl k d l d th t fShkl k d l d th t f t it iShklovsky developed the concept of Shklovsky developed the concept of ostranenieostranenie or or defamiliarizationdefamiliarization in literature. He explained this idea as in literature. He explained this idea as follows:follows:Th f t i t i t th ti f thi thTh f t i t i t th ti f thi thThe purpose of art is to impart the sensation of things as they The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art are perceived and not as they are known. The technique of art is to make objects ‘unfamiliar’, to make forms difficult, to is to make objects ‘unfamiliar’, to make forms difficult, to increase the difficulty and length of perception because theincrease the difficulty and length of perception because theincrease the difficulty and length of perception because the increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an prolonged. Art is a way of experiencing the artfulness of an object; the object is not important." (Shklovsky, "Art as object; the object is not important." (Shklovsky, "Art as Technique" 12)Technique" 12)Technique , 12)Technique , 12)Shklovsky's work pushes Russian Formalism towards Shklovsky's work pushes Russian Formalism towards understanding literary activity as integral parts of social understanding literary activity as integral parts of social practice an idea that becomes important in the work ofpractice an idea that becomes important in the work ofpractice, an idea that becomes important in the work of practice, an idea that becomes important in the work of Mikhail BakhtinMikhail Bakhtin and Russian and and Russian and Prague SchoolPrague Schoolscholars of scholars of semioticssemiotics..He died in Leningrad (now St Petersburg again)He died in Leningrad (now St Petersburg again)He died in Leningrad (now St. Petersburg again).He died in Leningrad (now St. Petersburg again).

Yury TynyanovYury TynyanovYury TynyanovYury Tynyanov1.1. Literary science had to have a firm theoretical Literary science had to have a firm theoretical yy

basis and an accurate terminology. basis and an accurate terminology. 2.2. The structural laws of a specific field of The structural laws of a specific field of

literature had to be established before it wasliterature had to be established before it wasliterature had to be established before it was literature had to be established before it was related to other fields. related to other fields.

3.3. The evolution of literature must be studied as a The evolution of literature must be studied as a t All id h th litt All id h th litsystem. All evidence, whether literary or nonsystem. All evidence, whether literary or non--

literary must be analysed functionally.literary must be analysed functionally.4.4. The analysis of the structural laws of literature The analysis of the structural laws of literature e a a ys s o t e st uctu a a s o te atu ee a a ys s o t e st uctu a a s o te atu e

should lead to the setting up of a limited should lead to the setting up of a limited number of structural types and evolutionary number of structural types and evolutionary laws governing those typeslaws governing those typeslaws governing those types.laws governing those types.

Roman Osipovich JakobsonRoman Osipovich JakobsonRoman Osipovich JakobsonRoman Osipovich Jakobson

Dimensions:Dimensions:Dimensions:Dimensions:1 1 contextcontext

222 2 messagemessage3 3 sendersender ------------------------------ 4 4 receiverreceiver

5 5 channelchannel66 codecode6 6 codecode

Functions:Functions:Functions:Functions:1 1 referentialreferential (= contextual information)(= contextual information)22 th tith ti ( t( t fl ti )fl ti )2 2 aestheticaesthetic (= auto(= auto--reflection)reflection)3 3 emotiveemotive (= self(= self--expression)expression)44 titi ( ti i ti dd i( ti i ti dd i4 4 conativeconative (= vocative or imperative addressing (= vocative or imperative addressing

of receiver)of receiver)55 h tih ti ( h ki h l ki )( h ki h l ki )5 5 phaticphatic (= checking channel working)(= checking channel working)6 6 metalingualmetalingual (= checking code working)(= checking code working)

Vladimir ProppVladimir ProppVladimir ProppVladimir Propp31 different plot elements, which he31 different plot elements, which he31 different plot elements, which he 31 different plot elements, which he called functions, that can be found in the called functions, that can be found in the magic talemagic tale::gg

1.1. One of the members of a family absents himself One of the members of a family absents himself from home. from home.

22 An interdiction is addressed to the heroAn interdiction is addressed to the hero2.2. An interdiction is addressed to the hero. An interdiction is addressed to the hero. 3.3. The interdiction is violated. The interdiction is violated. 4.4. The villain makes an attempt at reconnaissance. The villain makes an attempt at reconnaissance. 5.5. The villain receives information about his victim. The villain receives information about his victim. 6.6. The villain attempts to deceive his victim in order to The villain attempts to deceive his victim in order to

take possession of him or his belongingstake possession of him or his belongingstake possession of him or his belongings. take possession of him or his belongings.

7.7. Victim taken in by deception, unwittingly helping the Victim taken in by deception, unwittingly helping the enemy; enemy; Vill i h /i j t f il b (bVill i h /i j t f il b (b8.8. Villain causes harm/injury to family member (by Villain causes harm/injury to family member (by abduction, theft of magical agent, spoiling crops, abduction, theft of magical agent, spoiling crops, plunders in other forms, causes a disappearance, plunders in other forms, causes a disappearance, expels someone casts spell on someone substitutesexpels someone casts spell on someone substitutesexpels someone, casts spell on someone, substitutes expels someone, casts spell on someone, substitutes child etc, commits murder, imprisons/detains child etc, commits murder, imprisons/detains someone, threatens forced marriage, provides nightly someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks torments); Alternatively, a member of family lacks ); y, y); y, ysomething or desires something (magical potion etc); something or desires something (magical potion etc);

9.9. Misfortune or lack is made known, (hero is dispatched, Misfortune or lack is made known, (hero is dispatched, hears call for help etc/ alternative is that victimised hears call for help etc/ alternative is that victimised pphero is sent away, freed from imprisonment); hero is sent away, freed from imprisonment);

10.10. Seeker agrees to, or decides upon counterSeeker agrees to, or decides upon counter--action; action; 11.11. Hero leaves home;Hero leaves home;11.11. Hero leaves home; Hero leaves home;

12.12. Hero is tested, interrogated, attacked etc, preparing Hero is tested, interrogated, attacked etc, preparing the way for his/her receiving magical agent or helper the way for his/her receiving magical agent or helper (d )(d )(donor); (donor);

13.13. Hero reacts to actions of future donor (withstands/fails Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performsthe test, frees captive, reconciles disputants, performsthe test, frees captive, reconciles disputants, performs the test, frees captive, reconciles disputants, performs service, uses adversary's powers against them); service, uses adversary's powers against them);

14.14. Hero acquires use of a magical agent (directly Hero acquires use of a magical agent (directly t f d l t d h d dt f d l t d h d dtransferred, located, purchased, prepared, transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by spontaneously appears, eaten/drunk, help offered by other characters); other characters); ))

15.15. Hero is transferred, delivered or led to whereabouts of Hero is transferred, delivered or led to whereabouts of an object of the search; an object of the search; H d ill i j i i di bH d ill i j i i di b16.16. Hero and villain join in direct combat; Hero and villain join in direct combat;

H i b d d ( d d/ k d i iH i b d d ( d d/ k d i i17.17. Hero is branded (wounded/marked, receives ring or Hero is branded (wounded/marked, receives ring or scarf); scarf);

18.18. Villain is defeated (killed in combat, defeated in Villain is defeated (killed in combat, defeated in t t kill d hil l b i h d)t t kill d hil l b i h d)contest, killed while asleep, banished); contest, killed while asleep, banished);

19.19. Initial misfortune or lack is resolved (object of search Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revivied, captive distributed, spell broken, slain person revivied, captive freed);freed);freed); freed);

20.20. Hero returns; Hero returns; 21.21. Hero is pursued (pursuer tries to kill, eat, undermine Hero is pursued (pursuer tries to kill, eat, undermine

th h )th h )the hero); the hero); 22.22. Hero is rescued from pursuit (obstacles delay pursuer, Hero is rescued from pursuit (obstacles delay pursuer,

hero hides or is hidden, hero transforms hero hides or is hidden, hero transforms i bl h d f tt t hi /hi bl h d f tt t hi /hunrecognisably, hero saved from attempt on his/her unrecognisably, hero saved from attempt on his/her

life); life); 23.23. Hero unrecognised, arrives home or in another Hero unrecognised, arrives home or in another

country;country;country; country;

24.24. False hero presents unfounded claims; False hero presents unfounded claims; 25.25. Difficult task proposed to the hero (trial by ordeal, Difficult task proposed to the hero (trial by ordeal,

riddles, test of strength/endurance, other tasks); riddles, test of strength/endurance, other tasks); 26.26. Task is resolved; Task is resolved; 27.27. Hero is recognised (by mark, brand, or thing given to Hero is recognised (by mark, brand, or thing given to

him/her); him/her); 28.28. False hero or villain is exposed;False hero or villain is exposed;28.28. False hero or villain is exposed; False hero or villain is exposed; 29.29. Hero is given a new appearance (is made whole, Hero is given a new appearance (is made whole,

handsome, new garments etc); handsome, new garments etc); 3030 Villain is punished;Villain is punished;30.30. Villain is punished; Villain is punished; 31.31. Hero marries and ascends the throne (is Hero marries and ascends the throne (is

rewarded/promoted). rewarded/promoted).

John Crowe RansomJohn Crowe RansomJohn Crowe RansomJohn Crowe RansomA work of literature is a selfA work of literature is a self--contained, selfcontained, self--

f ti l bj tf ti l bj treferential object.referential object.Reading a literary work is a close reading, Reading a literary work is a close reading, concentrating on the relationships within the text concentrating on the relationships within the text th t i it it di ti ti h t fth t i it it di ti ti h t fthat give it its own distinctive character or form. that give it its own distinctive character or form. The structure of a work should not be divorced from The structure of a work should not be divorced from meaning, viewing the two as constituting a quasimeaning, viewing the two as constituting a quasi--organic unityorganic unityorganic unity. organic unity. Special attention must be paid to repetition, Special attention must be paid to repetition, particularly of images or symbols, but also of sound particularly of images or symbols, but also of sound effects and rhythms in poetryeffects and rhythms in poetryeffects and rhythms in poetry. effects and rhythms in poetry. The use of literary devices, such as irony, to achieve The use of literary devices, such as irony, to achieve a balance or reconciliation between dissimilar, even a balance or reconciliation between dissimilar, even conflicting elements in a text is importantconflicting elements in a text is importantconflicting, elements in a text is important.conflicting, elements in a text is important.

Cleanth BrookesCleanth BrookesCleanth BrookesCleanth BrookesThe primary concern of criticism is with the problem of The primary concern of criticism is with the problem of p y pp y punityunity——the kind of whole which the literary work forms or the kind of whole which the literary work forms or fails to form, and the relation of the various parts to each fails to form, and the relation of the various parts to each other in building up this whole.other in building up this whole.g pg pIn a successful work, format and content cannot be In a successful work, format and content cannot be separated.separated.Form is meaningForm is meaningForm is meaning.Form is meaning.Literature is ultimately metaphorical and symbolic.Literature is ultimately metaphorical and symbolic.The general and the universal are not seized upon by The general and the universal are not seized upon by g yg yabstraction, but got at through the concrete and the abstraction, but got at through the concrete and the particular.particular.Literature is not a surrogate for religionLiterature is not a surrogate for religionLiterature is not a surrogate for religion Literature is not a surrogate for religion

Louise RosenblattRosenblattLouise RosenblattRosenblatt

A poem is what the reader lives through underA poem is what the reader lives through underA poem is what the reader lives through under A poem is what the reader lives through under the guidance of the text and experiences as the guidance of the text and experiences as relevant to the text." relevant to the text." "The idea that a "The idea that a poempoem presupposes a presupposes a readerreaderactively involved with a actively involved with a texttext is particularly is particularly shocking to those seeking to emphasize the shocking to those seeking to emphasize the objectivity of their interpretations." objectivity of their interpretations." A " " i i l d d bA " " i i l d d bA "poem" is cooperatively produced by a A "poem" is cooperatively produced by a "reader" and a "text." "reader" and a "text."

Stanley FishStanley FishAny school of criticism that sees a literary work as an Any school of criticism that sees a literary work as an bj t l i i t d ib h t it i d h t itbj t l i i t d ib h t it i d h t itobject, claiming to describe what it is and never what it object, claiming to describe what it is and never what it

does, misconstrues the very essence of literature and does, misconstrues the very essence of literature and reading. reading. Lit t i t d i ifi h it i d d itLit t i t d i ifi h it i d d itLiterature exists and signifies when it is read, and its Literature exists and signifies when it is read, and its force is an affective one. force is an affective one. Literature is something that only exists meaningfully in Literature is something that only exists meaningfully in the mind of the reader and with the redefinition of thethe mind of the reader and with the redefinition of thethe mind of the reader, and with the redefinition of the the mind of the reader, and with the redefinition of the literary work as a catalyst of mental events, comes a literary work as a catalyst of mental events, comes a redefinition of the reader. redefinition of the reader. No longer is the reader the passive recipient of thoseNo longer is the reader the passive recipient of thoseNo longer is the reader the passive recipient of those No longer is the reader the passive recipient of those ideas that an author has planted in a text. "Reading is . . ideas that an author has planted in a text. "Reading is . . . something you . something you do.do.""

Hans Robert JaussHans Robert Jauss

A literary work is not an object whichA literary work is not an object whichA literary work is not an object which A literary work is not an object which stands by itself and which offers the same stands by itself and which offers the same face to each reader in each periodface to each reader in each periodface to each reader in each period. face to each reader in each period. It is not a monument which reveals its It is not a monument which reveals its timeless essence in a monologuetimeless essence in a monologuetimeless essence in a monologue.timeless essence in a monologue.

Simone de BeauvoirSimone de BeauvoirSimone de BeauvoirSimone de Beauvoir

Associating men with humanity moreAssociating men with humanity moreAssociating men with humanity more Associating men with humanity more generally (as many cultures do) generally (as many cultures do) relegates women to an inferior positionrelegates women to an inferior positionrelegates women to an inferior position relegates women to an inferior position in societyin society..

Happiness is Happiness is when you makewhen you get

what you strive for

when you make other people

happy

ARTIST/AUTHOR READER/AUDIENCELITERATURE

UNIVERSE (ASPECTS OF UNIVERSE)

Mimetic

LITERARY WORKObjective

AUDIENCE

Expressive Pragmatic

Objective

AUTHOR AUDIENCE