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Literary criticism /ˈlɪt
Sigmund Freud Psychoanalytic literary criticism refers to literary criticism which, in method, concept, theory, or form, is influenced by the tradition of psychoanalysis begun by Sigmund Freud. Psychoanalytic reading has been practiced since the early development of psychoanalysis itself, and has developed into a rich and heterogeneous interpretive tradition.
It is a literary approach where critics see the text as if it were a kind of dream. This means that the text represses its real (or latent) content behind obvious (manifest) content. The process of changing from latent to manifest content is known as the dream work, and involves operations of concentration and displacement. The critic analyzes the language and symbolism of a text to reverse the process of the dream work and arrive at the underlying latent thoughts.
Freud wrote several important essays on literature, which he used to explore the psyche of authors and characters, to explain narrative mysteries, and to develop new concepts in psychoanalysis (for instance, Delusion and Dream in Jensen's Gradiva and his influential readings of the Oedipus myth and Shakespeare's Hamlet in The Interpretation of Dreams). His followers and later readers, such as Carl Jung and Jacques Lacan, were avid readers of literature as well, and used literary examples as illustrations of important concepts in their work (for instance, Lacan argued with Jacques Derrida over the interpretation of Edgar Allan Poe's "The Purloined Letter").
Jung and another of Freud's disciples, Karen Horney, broke with Freud, and their work, especially Jung's, led to other rich branches of psychoanalytic criticism: Horney's to feminist approaches including womb envy, and Jung's to the study of archetypes and the collective unconscious. Jung's work in particular was influential as, combined with the work of anthropologists such as Claude Levi-Strauss and Joseph Campbell, it led to the entire fields of mythocriticism and archetype analysis.
The object of psychoanalytic literary criticism, at its very simplest, can be the psychoanalysis of the author or of a particularly interesting character. In this directly therapeutic form, it is very similar to psychoanalysis itself, closely following the analytic interpretive process discussed in Freud's The Interpretation of Dreams. But many more complex variations are possible. The concepts of psychoanalysis can be deployed with reference to the narrative or poetic structure itself, without requiring access to the authorial psyche (an interpretation motivated by Lacan's remark that "the unconscious is structured like a language"). Or the founding texts of psychoanalysis may themselves be treated as literature, and re-read for the light cast by their formal qualities on their theoretical content (Freud's texts frequently resemble detective stories, or the archaeological narratives of which he was so fond).
Like all forms of literary criticism, psychoanalytic criticism can yield useful clues to the sometime baffling symbols, actions, and settings in a literary work; however, like all forms of literary criticism, it has its limits. For one thing, some critics rely on psychocriticism as a "one size fits all" approach, when in fact no one approach can adequately illuminate a complex work of art. As Guerin, et al. put it in A Handbook of Critical Approached to Literature[1],
The danger is that the serious student may become theory-ridden, forgetting that Freud's is not the only approach to literary criticism. To see a great work of fiction or a great poem primarily as a psychological case study is often to miss its wider significance and perhaps even the essential aesthetic experience it should provide.
It is a literary approach where critics see the text as if it were a kind of dream. This means that the text represses its real (or latent) content behind obvious (manifest) content. The process of changing from latent to manifest content is known as the dream work, and involves operations of concentration and displacement. The critic analyzes the language and symbolism of a text to reverse the process of the dream work and arrive at the underlying latent thoughts.
Freud wrote several important essays on literature, which he used to explore the psyche of authors and characters, to explain narrative mysteries, and to develop new concepts in psychoanalysis (for instance, Delusion and Dream in Jensen's Gradiva and his influential readings of the Oedipus myth and Shakespeare's Hamlet in The Interpretation of Dreams). His followers and later readers, such as Carl Jung and Jacques Lacan, were avid readers of literature as well, and used literary examples as illustrations of important concepts in their work (for instance, Lacan argued with Jacques Derrida over the interpretation of Edgar Allan Poe's "The Purloined Letter").
Jung and another of Freud's disciples, Karen Horney, broke with Freud, and their work, especially Jung's, led to other rich branches of psychoanalytic criticism: Horney's to feminist approaches including womb envy, and Jung's to the study of archetypes and the collective unconscious. Jung's work in particular was influential as, combined with the work of anthropologists such as Claude Levi-Strauss and Joseph Campbell, it led to the entire fields of mythocriticism and archetype analysis.
The object of psychoanalytic literary criticism, at its very simplest, can be the psychoanalysis of the author or of a particularly interesting character. In this directly therapeutic form, it is very similar to psychoanalysis itself, closely following the analytic interpretive process discussed in Freud's The Interpretation of Dreams. But many more complex variations are possible. The concepts of psychoanalysis can be deployed with reference to the narrative or poetic structure itself, without requiring access to the authorial psyche (an interpretation motivated by Lacan's remark that "the unconscious is structured like a language"). Or the founding texts of psychoanalysis may themselves be treated as literature, and re-read for the light cast by their formal qualities on their theoretical content (Freud's texts frequently resemble detective stories, or the archaeological narratives of which he was so fond).
Like all forms of literary criticism, psychoanalytic criticism can yield useful clues to the sometime baffling symbols, actions, and settings in a literary work; however, like all forms of literary criticism, it has its limits. For one thing, some critics rely on psychocriticism as a "one size fits all" approach, when in fact no one approach can adequately illuminate a complex work of art. As Guerin, et al. put it in A Handbook of Critical Approached to Literature[1],
The danger is that the serious student may become theory-ridden, forgetting that Freud's is not the only approach to literary criticism. To see a great work of fiction or a great poem primarily as a psychological case study is often to miss its wider significance and perhaps even the essential aesthetic experience it should provide.
Jacques Derrida Deconstruction is a term used in philosophy, literary criticism, and the social sciences, popularised through its usage by Jacques Derrida in the 1960s[1]. The Oxford English Dictionary defines deconstruction as "A strategy of critical analysis [...] directed towards exposing unquestioned metaphysical assumptions and internal contradictions in philosophical and literary language."[2] Derrida developed the term deconstruction in relation to his critical engagement with phenomenology, structural linguistics, and literature in the 1960s. The term is also related to the traditions of hermeneutics as it works with questions of how texts should be read and interpreted and immanent critique as a deconstruction demonstrates problems or contradictions that are already operating within the deconstructed text. Concerning deconstruction Derrida states that
[F]rom about 1963 to 1968, I tried to work out - in particular in the three works published in 1967 - what was in no way meant to be a system but rather a sort of strategic device, opening its own abyss, an unclosed, unenclosable, not wholly formalizable ensemble of rules for reading, interpretation and writing. This type of device may have enabled me to detect not only in the history of philosophy and in the related socio-historical totality, but also in what are alleged to be sciences and in so-called post-philosophical discourses that figure among the most modern (in linguistics, in anthropology, in psychoanalysis), to detect in these an evaluation of writing, or, to tell the truth, rather a devaluation of writing whose insistent, repetitive, even obscurely compulsive, character was the sign of a whole set of long-standing constraints. These constraints were practised at the price of contradictions, of denials, of dogmatic decrees"[3]
Derrida has on occasion tried to clarify some possible misunderstandings of deconstruction. He has stated, for example, that deconstruction is not a methodology. Today the term deconstruction is popular far beyond Derrida's own usage of it and is most closely associated with continental philosophy and literary criticism. Paul de Man is a prominent practitioner of his own interpretation of deconstruction and the most famous member of what came to be referred to as the Yale School of deconstruction.
[F]rom about 1963 to 1968, I tried to work out - in particular in the three works published in 1967 - what was in no way meant to be a system but rather a sort of strategic device, opening its own abyss, an unclosed, unenclosable, not wholly formalizable ensemble of rules for reading, interpretation and writing. This type of device may have enabled me to detect not only in the history of philosophy and in the related socio-historical totality, but also in what are alleged to be sciences and in so-called post-philosophical discourses that figure among the most modern (in linguistics, in anthropology, in psychoanalysis), to detect in these an evaluation of writing, or, to tell the truth, rather a devaluation of writing whose insistent, repetitive, even obscurely compulsive, character was the sign of a whole set of long-standing constraints. These constraints were practised at the price of contradictions, of denials, of dogmatic decrees"[3]
Derrida has on occasion tried to clarify some possible misunderstandings of deconstruction. He has stated, for example, that deconstruction is not a methodology. Today the term deconstruction is popular far beyond Derrida's own usage of it and is most closely associated with continental philosophy and literary criticism. Paul de Man is a prominent practitioner of his own interpretation of deconstruction and the most famous member of what came to be referred to as the Yale School of deconstruction.
Hans Georg Gadamer Hermeneutics may be described as the development and study of theories of the interpretation and understanding of texts. In contemporary usage in religious studies, hermeneutics refers to the study of the interpretation of religious texts.
It is more broadly used in contemporary philosophy to denote the study of theories and methods of the interpretation of all texts and systems of meaning. The concept of "text" is here extended beyond written documents to any number of objects subject to interpretation, such as experiences. A hermeneutic is also defined as a specific system or method for interpretation, or a specific theory of interpretation. However, the contemporary philosopher Hans-Georg Gadamer has said that hermeneutics is an approach rather than a method and, further, that the hermeneutic circle is the central problem of interpretation.
Essentially, hermeneutics involves cultivating the ability to understand things from somebody else's point of view, and to appreciate the cultural and social forces that may have influenced their outlook. Hermeneutics is the process of applying this understanding to interpreting the meaning of written texts and symbolic artifacts (such as art or sculpture or architecture), which may be either historic or contemporary.
It is more broadly used in contemporary philosophy to denote the study of theories and methods of the interpretation of all texts and systems of meaning. The concept of "text" is here extended beyond written documents to any number of objects subject to interpretation, such as experiences. A hermeneutic is also defined as a specific system or method for interpretation, or a specific theory of interpretation. However, the contemporary philosopher Hans-Georg Gadamer has said that hermeneutics is an approach rather than a method and, further, that the hermeneutic circle is the central problem of interpretation.
Essentially, hermeneutics involves cultivating the ability to understand things from somebody else's point of view, and to appreciate the cultural and social forces that may have influenced their outlook. Hermeneutics is the process of applying this understanding to interpreting the meaning of written texts and symbolic artifacts (such as art or sculpture or architecture), which may be either historic or contemporary.
Summarize an empirical research article on the use of CMC in language learning. ( 3 PAGES )
Section 1- Synchronous CMC
Section 2- Asynchronous CMC
Comment on the implications of the findings to the language learning scenario. ( 1 PAGE )
Devise a lesson plan that is related to the research. (1 PAGE )
Total Marks- 15.
ACADEMIC STANDARD. 1.5 Spacing. FONT 11
SUBMIT-SOFT & HARD COPY+ARTICLE
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