Questions related to Literary Criticism
What does it mean that a poet or a writer expresses their experience of loss through art?
is it an objective way of reconciling with the painful experience?
A growing body of contemporary Children’s literature and cartoon Films depict Gender dysphoria themes featuring characters based on politicised, Constructivist redefinitions of gender and family. Promotion of a 'Gender Fluid' lifestyle has lead children down a destructive path of Gender confusion, chemical abuse, surgical genital mutilation and suicides. Do the growing Gender Dysphoria themes in post-modern children’s Literature have a causal relationship with the mainstreaming of Transgenderism?
Kindly point me to any studies which explore this / related issues.
1. I intend to start a research project on assessing some Arabic academic research on literary criticism, based on critical thinking requirements. Is there any rubric for assessing research based on critical thinking? If so, please provide it with me. If not, what is your recommendation?
2. If anyone interested in a joint research project for setting a rubric for such an issue, please contact me.
Fish points to the importance of the structure of the reader's experience in opposition to the Formalist's emphasis on locating meaning in the forms and linguistic relations in the text, Fish argues that readers, or at least competent readers, belong to “interpretive communities” which are “made up of those who share interpretive strategies not for reading (in the conventional sense) but for writing texts, for constituting their properties and assigning their intentions.” These strategies, he points out, exist prior to the act of reading and therefore “determine the shape of what is read.”
Mario Praz in his The Romantic Agony (1956) suggests that there is "no opposite pole to 'romantic'" which imlplies that romanticism could be understood as a set of ideals or a style that could emerge as a climax or a revolution, thus it is always in progression and could emerge at any time as a culmination of the intellectual process.
It is said that experimenting with more subjective modes of expression was one of the reasons behind the emergence of Romanticism in Germany (Sturm and Drang movement), where writers like Goethe presented works with a character who is ardently following his passion and individual creativity (like Faust). Faust in the play attempts to come up with a subjective interpretation (his own theory perhaps) of the Bible, disagreeing with theologians. how did this work influence the emergence of romanticism as a literary theory?
Literature is hard to define. what makes a text literary and another non-literary? Why is it even important to have a theory in literature when there are as many readings as there are readers?
What are the different approaches in literary criticism?
How could you distinguish between literary approaches and literary theories?
When undergoing a process to evaluate and interpret a literary work one must know about literary criticism and narrow it down by applying a specific literary theory, but practically doing this is a bit challenging in the process of research, besides, the people have left criticism itself beyond the work and starts criticizing your work, and its become blunt in your work, how to prevent and resolve this issue? Any expert advice???
I have spent hours searching for a journal in q1 or q2 at Web of Science, however, I could not get the way to resolve this matter. Our paper deals with the pandemics in the Arabic novels using the New Historicism approach, so, we aim to get a journal in, Literature, Literary Criticism, Middle East, Literature Theory, or Cultural Studies.
I'd be more than grateful if you could mention publications that have applied Heinz Kohut's ideas to literary criticism.
They used almost the same dramatic conventions and techniques. According to you, in what way is Shakespeare different from Christopher Marlowe?
Shakespeare's works have been tackled from almost all angles and have been subject of thorough examination from literary theory and literary criticism perspectives. Can we talk today about post-theoretical Shakespeare? If yes, then how?
we lost a large number of intellectuals, critics and writers during the years from 2003-2020.
I am looking for a theoretical scholarly full definition for the concept of "theatrics". Any books? any names? any articles?
Thank you so much in advance.
Was the graphic design something and then it became something else after the emergence of structuralism and deconstruction, etc.?
Are there indications or evidence that literary criticism approaches have helped change or develop the graphic design field?
I hope the answer will indicate precisely how this change happened, supported by examples.
The same adjective " romantic" is used for the two nouns. So majority of people associate being romantic with romance , that is love affection and courtship experience. However, to literary critics , romantic love is impossible love that seeks freedom in a rigid society. Romance Literature is 17th century English Elizabethan period whereas Romanticism Literature is 19th century literary of rebellion in Europe.
http://fredromano.org/ed_amiga/index.htm or is it superior goals oriented (such as tax evasion tracking)? Nevertheless, I must say the EC3 analysis of Celine let me astonished about your software. Not only I deeply disdain Celine as a retained writer that enhance the worst human aspects, but I'll only save from "Voyage au bout de la nuit" la ville debout as a NYC description. The ten first pages were so repugnant to me I begun Voyage au bout de la Nuit on page 11. And I especially dislike doctor of the poor full of disdain for his patients. Spaniards call him "el hijo de puta de referencia" that started the French school "perro callejero writings" (écriture de boucher). My favorite writer is almost unknown today, Jean Giono, de Manosque and its amazing Serpent d'étoiles. The kind of literature I feel deep in my soul and that triggers my imagination. I have no interest in Celine's universe, it's cold, grey and dirty.
Presentism is a new trend in contemporary literary criticism. It succinctly explores the representation of the present in literary texts. Seen thus, presentism is totally different from historicism which addresses the articulation of the past in literature.
Thank you in advance
How far is (or should) critical literary theory be independent from other fields?
Do we have purely literary theoretical approaches or does literary criticism rely mainly on other disciplines like history, psychoanalysis, philosophy, etc...?
Has literature been able to produce its own epistemological tools or approaches?
Your thoughts are much appreciated!
Victims of social existence deserve more attention now more than ever. Concern for them has to be rightly established as an entire theoretical framework in itself, hence, the evolution of flipside theory:
On returning from a visit trip collecting stories and making college class visits at Purdue University and Indiana University regional campuses in northwest Indiana, I have been weighing the state of publishing and whether writers from the "Rust Belt" "Flyover Zone" have a hope of being read outside their local region. This is not only applicable to the United States "Rust Belt" and "Flyover Zone" but analogous zones across the planet.
A key to Thorstein Veblen's theory of "conspicuous consumption" in his study _The Theory of the Leisure Class_ is social emulation. Each narrow band of socially-stratified society looks up to a slightly higher band and embarks on a furious program of "emulation" or mimicking their "betters." And when this is accomplished the active agent moves on to emulate a higher rung. Veblen helpfully supplies comparisons to bird behavior and the rituals of pre-industrial society, such as the Inuit "potlatch" as analogous to the upper-class debutante's "coming out" ball.
LINK to Veblen's text: https://www.gutenberg.org/files/833/833-h/833-h.htm
So, in the United States instance, any editor in New York or on the East Coast will see a less-status-y setting and instantly know "Sorry. This is not for us. Good luck elsewhere." Yes, taste matters. As Veblen writes, "a beautiful article which is not expensive is not accounted as beautiful" ("Theory" 132). With a slight shift, we might add that "a beautiful text not placed in an expensive setting is not beautiful."
What effect upon cognitive development and the mental evolution of creative writers does this process entail? The embodied subject so often enthusiastically dissected in pages of the Modern Language Association journal says little about the bodies and Foucaultian embodiment in the "Flyover Zone" or "Rust Belt," although I have addressed the issue by starting a "Rust Belt Literature" group in the MLA online commons. The same "emulative" avoidance seems to be at work since our new "Rust Belt Literature" MLA group is relatively low-traffic. Seven members at last count. MLA groups for the lesser poets of the Scottish Hebrides of the late 18th Century often boast more members than this.
Some creative writing students have devised work-arounds such as (1) pretending to have lived in Paris or (2) writing in a vacuum where characters walk in a vague setting like dry ice fog in a low-budget film to disguise the less-status-y real setting. These texts show some initiative and focus in CW students. However, perhaps, creative writing classes could find a more accurate name in flyover country such as Evasive Writing? Does Veblen fit?
As an occasional teacher of classical, early modern and modern literature I am curious about the merits of literary canon. I often read work on internet sites, for example, that bears comparison with trumpeted writings and writers of the present. If 'great literature'has shared intrinsic qualities, what are they? Do we remain enthralled to the ethnic make-up of writers, selecting thereby those we are familiar with to revere, with a nod only to others in distant countries who mirror these writers? Are real or imagined intrinsic qualities measurable, and if so shouldn't we be attempting to devise such measurements, an idea,yes, fraught with problems, rather than relying on the assurances of educational and awarding bodies -especially where still living writers are concerned? Are the narrative and structural efficacies of the great and famous really better than my students whose work reflects the same or similar concerns?
I believe that networking plays a part in the raising up and popularity of writers-consider the British writers of the 1970s who knew one another, often from university, and also knew all the most influential agents and literary critics, often intimately: the Liverpool poets of the 1960s: the agent promoted novelists of today writing technically able novels that have similar tone and structure. Are agents now the driving force for whom we read, who we revere and the kind of novels their clients write?
Comparisons stand for similarities and contrasts stand for dissimilarities or opposites or what is not similar. They can be found in the societal norms, genre, form, figures of speech, settings, and vocabulary of the poem. Do you agree? If yes, please tell me some more kinds of comparisons and contrasts in the Rape of the Lock.
As an academic writer, you are expected to be critical of the sources that you use. This essentially means questioning what you read and not necessarily agreeing with it just because the information has been published. Being critical can also mean looking for reasons why we should not just accept something as being correct or true. This can require you to identify problems with a writer's arguments or methods, or perhaps to refer to other people's criticisms of these. Constructive criticism goes beyond this by suggesting ways in which a piece of research or writing could be improved.
So what are the best phrases for constructive criticism?
Foucault points out that, even though there are many discussions on the idea of "Author", none of the current theories try to understand how the concept of "opus"/ "literary work" operates in different literary systems. I'm trying to find authors that deal with this concept in a theoretical level. Could you recommend me some?
I am trying to understand a comment made by somebody with respect to a presentation that dealt with solitude and nature. The comment is " Professor Tison had been struck by the indifferentism expressed in the paper. It reminded him of the English poet mentioned by Emerson whose teaching amount to this- that nothing really mattered very much."
The "indifferentism" here means apathy towards the world and mundane matters. I am aware that Emerson was very much influenced by Wordsworth's various ideas including solitude and nature and he also critiqued him a lot that we can see in his journal entries and works like "English Traits", etc.
But I am wondering, did Emerson ever feel that Wordsworth was indifferent to the human society/problems/ humans?
Many thanks well in advance for your replies !
I couldn't find a theory that include both genders for me to investigate representation of gender roles in young adult literature. Please suggest me an appropriate theory which is able to anchor masculinity and femininity in young adult literature. Thank you.
I'm looking where could I publish an article pertaining italian north-easthern dialect area.
I'm researching children's music however most of my theory comes from literature studies. I'm aware of the lists of the attributes of children's book complied by Perry Nodelman, Myles Mcdowell and others, and I have used such a list for my studies. But I know this method is not without its critics. I appreciate that this involved reception theory and issues of implied readership.
I wondered if someone could summarise the main limitations of 'the child in the book' approach.
T.S. Eliot presented a new mode of poetic idiom - 'objective correlative'. This was experimented by Hulme and Ezra Pound. As we study the post-Eliot poetry, we discover a tendency to use poetic idiom dissimilar to that found in the 19th-century poetry. So, we can say that poetic idiom is fast changing, breaking away from the tradition. Is this proposition acceptable?
TS Eliot's The Waste Land is ending in the form of an Upanishad: Shantih Shantih Shantih. The Upanishad are not only a religious book, but also a legal code. So the final formula could concern the Law.
Besides, the whole poem is about a wounded King whose body is to be restored in order to put again his lands in order: to overpass the state of exception restoring the wounded flesh of the sovereign.
In June 2015, the Mayor of Venice, Italy, decided to withdraw from schools 49 picture books that the considered that should not be read by children because they treated subjects that should only be dealt at home. Among the censored books had some predictable titles, like And Tango Makes Three or What's dad's secret?. However, the ban of others picture books, like Little Blue and Little Yellow or We're Going on a Bear Hunt, borders on the grotesque. What do you think about this kind of censorship? The controversial subjects relating to family and gender should be only dealt in the private sphere?
I need it for teaching at undergraduate level for learners. Your effort will highly be appreciated.
I am doing a corpus-based study of metadiscourse use in this genre. Letters of recommendation are written about some who is seeking employment or admission. The writer mostly highlights the abilities, competencies and characteristics of the individual to show whether the person has what it takes for the task ahead.
I am embarking on a post-doc project (which might entail a conference and a collection) and would like to find out if anyone shares its interests (particularly in Germany, but also beyond).
For my Phd I'm working of how writing has supposed for a novelist a way of cure his traumas of the war and something vital for him. I need to support my ideas with theory and litterary criticism.
Are we at a point in literary criticism that we reject the linguistic constructionism (such as postmodernism) of theorists such as Derrida, Lacan and Foucault who argued for a theory that sees everything as textuality, as a network of signifying systems? Are we beginning to articulate a new approach to the materiality that surrounds us by bringing back the materiality, thereby describing the complex interactions of language and matter, human and nonhuman, living and nonliving. Are we ready to bring back the 'real' world into our theories?
Critics don't seem to be interested anymore in distinguishing between ordinary and literary language, but I'm wondering whether this is a crucial issue we need to return to.
I've a lengthy paper connecting the two countries with Shakespeare and the birds in his plays, but something's missing. It needs more depth. One area might be about the general function of birds in storytelling -- as prophets, omens, etc. Other ideas?
Many CDA approaches are aimed at analyzing ideology and power relations in society through discourse (text) language. And their data can range from a one a phrase add to large pieces of texts or documents. I haven't come across a CDA that is particularly tailored for literary works.