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A Handbook of Critical Approaches to Literature

ISBN: 9780195160178 | 0195160177
Edition: 5th
Format: Paperback
Publisher: Oxford University Press, USA
Pub. Date: 12/30/2004

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SummaryTable of Contents
John R. Willingham is Professor Emeritus of English at the University of Kansas. Jeanne C. Reesman is Ashbel Smith Professor of English at the University of Texas at San Antonio. Lee Morgan is Professor Emeritus of English at Centenary College. Earle Labor is George A. Wilson Professor of American Literature at Centenary College. Wilfred L. Guerin is Professor Emeritus of English at Louisiana State University.
Now in its fifth edition, A Handbook of Critical Approaches to Literature has become both a standard intro... MORE
Illustrations
ix
Prefacex
Getting Started: The Precritical Response
1(14)
... MORESetting
7(1)
Plot
8(1)
Character
8(1)
Structure
9(1)
Style
10(1)
Atmosphere
11(2)
Theme
13(2)
First Things First: Textual Scholarship, Genres, and Source Study
15(36)
First, a Note on Traditional Approaches
15(2)
Three Foundational Questions
17(34)
Textual Scholarship: Do We Have an Accurate Version of What We Are Studying?
17(1)
General Observations
17(3)
Text Study in Practice
20(9)
Matters of Genre: What Are We Dealing With?
29(1)
An Overview of Genre
29(4)
Genre Characteristics in Practice
33(13)
Source Study: Did Earlier Writings Help This Work Come into Being?
46(5)
Historical and Biographical Approaches
51(26)
General Observations
51(3)
Historical and Biographical Approaches in Practice
54(23)
``To His Coy Mistress''
54(3)
Hamlet
57(4)
Huckleberry Finn
61(5)
``Young Goodman Brown''
66(3)
``Everyday Use''
69(4)
Frankenstein
73(4)
Moral and Philosophical Approaches
77(13)
General Observations
77(2)
Moral and Philosophical Approaches in Practice
79(11)
``To His Coy Mistress''
79(1)
Hamlet
80(1)
Huckleberry Finn
81(1)
``Young Goodman Brown''
82(2)
``Everyday Use''
84(3)
Frankenstein
87(3)
The Formalist Approach
90(62)
Reading a Poem: An Introduction to the Formalist Approach
90(3)
The Process of Formalist Analysis: Making the Close Reader
93(3)
A Brief History of Formalist Criticism
96(6)
The Course of a Half Century
96(1)
Backgrounds of Formalist Theory
97(3)
The New Criticism
100(2)
Constants of the Formalist Approach: Some Key Concepts, Terms, and Devices
102(9)
Form and Organic Form
102(3)
Texture, Image, Symbol
105(1)
Fallacies
106(1)
Point of View
107(2)
The Speaker's Voice
109(1)
Tension, Irony, Paradox
110(1)
The Formalist Approach in Practice
111(38)
Word, Image, and Theme: Space-Time Metaphors in ``To His Coy Mistress''
111(5)
The Dark, the Light, and the Pink: Ambiguity as Form in ``Young Goodman Brown''
116(2)
Virtues and Vices
118(2)
Symbol or Allegory?
120(1)
Loss upon Loss
121(2)
Romance and Reality, Land and River: The Journey as Repetitive Form in Huckleberry Finn
123(6)
Dialectic as Form: The Trap Metaphor in Hamlet
129(1)
The Trap Imagery
129(1)
The Cosmological Trap
130(2)
``Seeming'' and ``Being''
132(4)
``Seeing'' and ``Knowing''
136(1)
Irony and Narrative Voice: A Formalist Approach to ``Everyday Use''
137(4)
Frankenstein: A Formalist Reading, with an Emphasis on Exponents
141(8)
Limitations of the Formalist Approach
149(3)
The Psychological Approach: Freud
152(30)
Aims and Principles
152(9)
Abuses and Misunderstandings of the Psychological Approach
153(1)
Freud's Theories
154(7)
The Psychological Approach in Practice
161(19)
Hamlet: The Oedipus Complex
161(3)
Rebellion Against the Father in Huckleberry Finn
164(4)
Prometheus Manque: The Monster Unbound
168(1)
``Young Goodman Brown'': Is Versus Superego
169(3)
Death Wish in Poe's Fiction
172(1)
Love and Death in Blake's ``Sick Rose''
173(1)
Sexual Imagery in ``To His Coy Mistress''
174(3)
Morality over the Pleasure Principle in ``Everyday Use''
177(3)
Other Possibilities and Limitations of the Psychological Approach
180(2)
Mythological and Archetypal Approaches
182(40)
Definitions and Misconceptions
182(2)
Some Examples of Archetypes
184(7)
Images
185(4)
Archetypal Motifs or Patterns
189(1)
Archetypes as Genres
190(1)
Myth Criticism in Practice
191(27)
Anthropology and Its Uses
192(3)
The Sacrificial Hero: Hamlet
195(4)
Archetypes of Time and Immortality: ``To His Coy Mistress''
199(2)
Jungian Psychology and Its Archetypal Insights
201(3)
Some Special Archetypes: Shadow, Persona, and Anima
204(3)
``Young Goodman Brown'': A Failure of Individuation
207(1)
Creature or Creator: Who Is the Real Monster in Frankenstein?
208(2)
Syntheses of Jung and Anthropology
210(1)
Myth Criticism and the American Dream: Huckleberry Finn as the American Adam
211(5)
``Everyday Use'': The Great [Grand]Mother
216(2)
Limitations of Myth Criticism
218(4)
Feminisms and Gender Studies
222(53)
Feminisms and Feminist Literary Criticism: Definitions
222(2)
Woman: Created or Constructed?
224(12)
Feminism and Psychoanalysis
227(4)
Multicultural Feminisms
231(3)
Marxist Feminism
234(1)
Feminist Film Studies
234(2)
Gender Studies
236(4)
Feminisms in Practice
240(28)
The Marble Vault: The Mistress in ``To His Coy Mistress''
240(2)
Frailty, Thy Name Is Hamlet: Hamlet and Women
242(7)
``The Workshop of Filthy Creation'': Men and Women in Frankenstein
249(1)
Mary and Percy, Author and Editor
250(3)
Masculinity and Femininity in the Frankenstein Family
253(2)
``I Am Thy Creature . . .''
255(2)
Men, Women, and the Loss of Faith in ``Young Goodman Brown''
257(2)
Women and ``Sivilization'' in Huckleberry Finn
259(5)
``In Real Life'': Recovering the Feminine Past in ``Everyday Use''
264(4)
The Future of Feminist Literary Studies and Gender Studies: Some Problems and Limitations
268(7)
Cultural Studies
275(75)
What Is (or Are) ``Cultural Studies''?
275(5)
Five Types of Cultural Studies
280(25)
British Cultural Materialism
280(2)
New Historicism
282(5)
American Multiculturalism
287(2)
African American Writers
289(3)
Latina/o Writers
292(3)
American Indian Literatures
295(2)
Asian American Writers
297(3)
Postmodernism and Popular Culture
300(1)
Postmodernism
300(2)
Popular Culture
302(1)
Postcolonial Studies
303(2)
Cultural Studies in Practice
305(37)
Two Characters in Hamlet: Marginalization with a Vengeance
305(6)
``To His Coy Mistress'': Implied Culture Versus Historical Fact
311(3)
From Paradise Lost to Frank-N-Furter: The Creature Lives!
314(1)
Revolutionary Births
314(3)
The Frankenpheme in Popular Culture: Fiction, Drama, Film, Television
317(8)
``The Lore of Fiends'': Hawthorne and His Market
325(5)
``Telling the Truth, Mainly'': Tricksterism in Huckleberry Finn
330(7)
Cultures in Conflict: A Story Looks at Cultural Change
337(5)
Limitations of Cultural Studies
342(8)
The Play of Meaning(s): Reader-Response Criticism, Dialogics, and Structuralism and Poststructuralism, Including Deconstruction
350(31)
Reader-Response Criticism
350(12)
Dialogics
362(6)
Structuralism and Postructuralism, Including Deconstruction
368(13)
Structuralism: Context and Definition
368(1)
The Linguistic Model
369(1)
Russian Formalism: Extending Saussure
370(2)
Structuralism, Levi-Strauss, and Semiotics
372(1)
French Structuralism: Codes and Decoding
373(3)
British and American Interpreters
376(1)
Poststructuralism: Deconstruction
377(4)
Epilogue381(4)
Appendix A ``To His Coy Mistress''385(2)
Andrew Marvell
Appendix B ``Young Goodman Brown''387(14)
Nathaniel Hawthorne
Appendix C ``Everyday Use: for your grandmama''401(10)
Alice Walker
Index411

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