Recently in Literary Criticism Category
I just want to thank Jay for his input on my paper.
I looked over his and was unable to find anything wrong with it.
I am only going to tak about a few presentations. Sorry if you weren't one of them, I hope you are not offended. This is just very time consuming.
Here is just a little bit of what I am doing for this wonderful 15-20 page paper.
ENJOY and feel free to leave some comments : )
This blog portfolio is short and sweet. This does not show the full extent of my literary growth throughout this class but it does show how I have turned out. Each week I think I have progressed from a sophomore in a hard upper level class to a sophomore who has accomplished more in this past semester in this one class than in her whole high school career.
The blogging readly helped me and I think for many of the other students to keep track of our thoughts. For our critical exercises, to clear up confusion on a particular topic, discussions, projects, and papers, I used our blogs as a reference to all the criticims we have learned.
A project by Denamarie Ercolani and Lorin Schumacher.
Just a little emotional paper for a wildcard.
I wrote this last year, but I thought it was appropriate for this class.
Thank you Diana for starting this wonderful blog carnival that I know we all love to do.
This is the second blogging portfolio for Literary Criticism. Since the first portfolio, we have discussed poststructuralism, historical criticism, intertextual criticism as well as mimetic criticism.
"...since it is a poet who is making the observation, he puts in terms of silence and speech, giving sound, the poet's element, a certain preeminence over sight, the painter's sense."
"Literature on its most profound level is a form of learning. We learn, we grow from the knowledge of life, of psychology, of human behavior and realtionshiops that we discover in worthwhile works of art."
"A careful examination of the nature of realistic fiction as modern criticism is coming to conceive it will show that in certain cases it is proper to treat literary characters as real people and that only by doing so can we fully appreciate the distinctive achievement of the genre."
"...the prosecution is likely to argue the affective line that the work in question, in its language or the actions it portrays, has a harmful effect on its audience, whle the defense may respond with the mimetic argument that the work gives an accurate picture of reality. After all, people say and do such things, and the author is simply reporting the facts of life."
"More obviously, agoraphobis and its complementary opposite, claustrophobia, are by definition associated with the spatial imagery through which these poets and novelists express their feelings of social confinement and their yearning for spiritual escape."
What about the critics we've read so far has been most stimulating?
"For in the imagery and characters of great works, in the green gardens and wintery wastelands, in the questing heroes and menacing villains, and in the archetypal patterns of their actions that form analogies to rites of spring and rites of passage, to cycles of death adn rebirth, we recognize, usually at some subconscious level, the images and actions that haunt our dreams and that form substance of our psychic lives."
"...the implied reader as a concept has his roots firmly planted in the structure of hte text; he is a construct and in ono way to be identified with any real reader."
"The narrator structures a reading response that likewise seves self-interest and vanity; readers are invited to see Delano's confusions as innocence and to view their own subsequent confusion through the same lense...Readers are not aksed to believe Delano-indeed we are warned taht he is a bit simple-minded-but to believe in him, in his essential good heartedness."
"The word "happy" occurs six times in the first five lines of hte stanza. The phrase "for ever" appears five times in the stanza, with an additional "ever" used in the second line...the fact of repetition may spring from the poet's envy of the happiness the figures on the urn appear to be experiencing, although "envy" is precisely what Keats repudiates as a motive in the similarly empathic experience of the companion "Ode to a Nightingale"."
"...the artist is sufficiently confident of his ability to tell a story and of his audience's capacity to receive it that he is able to signal an action rather than develop it in detail"
Here it is again, another blogging portfolio.
As you can see I used the no-nonsense type. I wonder why.
Learning about all the different types of literary criticism is very fascinating.
Literary criticism is an attempt to evaluate and understand the literature of an author. It is a description, analysis, evaluation, or interpretation of a particular literary work or an author's writings as a whole. Literary criticism is a view or opinion on what a particular written work means.
Here are my blogs based on essays from Contexts for Criticism that deal with all different types of literary criticism.
"The tail of the kite, it is true, seems to negate the kite's function: it weights down something made to rise; and in the same way, the concrete particulars with which the poet loads himself seem to deny the universal to which he aspires...Through his metaphors, he risks saying it partially and obscurely, and risks not saying it at allx. But the risk must be taken, for direct statement leads to abstraction and threatens to take us out of poetry altogether" (85).
"For when we consider the formalists' quarrel with the historical and reader-response approaches, their conception of the objective status of the poem, and their insistence tha thte context formed by the poem itslef is the ultimate determiner of meaning, we see that their main concern is always with the unique verbal construct before them, with these particular words in this particular order. To put is another way, formalists refuse to separate form from context" (77).
"Similar to teh diea that the Ode portrays a dream world is the idea that it is Platonic; the world set apart from the real world is representative of absolute reality: "Beauty is eternal; in its concrete reality it is a symbol, a 'shadow' of the absolute; its tangible, visible being merely a mode of revealing divine, ideal immutable turth." In the world of the Absolute, "Beauty is truth, truth beauty." That is all that Man knows or needs to know on earth."
"As Wordsworth put it, a poet is a man speaking to men. On the whole, we listen to those who address us in order to discover what they mean. It is also true that, in rare and memorable instances, people say remarkable things without meaning them" (31).
"As he thus responded, Captain Delano again glanced at Don Benito, but the latter's eyes were averted; while abruptly and awkwardly shifting the subject, he made some peevish allusion to the calm, and then, without apology, once more, with his attendant, withdrew to the opposite bulwarks, where the whispering was resumed."
"The Formalists started out be seeing the literary work as a more or less arbirtraray assemblage of 'devices', and only later came to see these devices as interrelated elements or 'functions' within a total textual system."
"The emotion of art is impersonal. And the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. And he is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but of what is already living."
"...forms of criticism that orient toward "reality" or "life as experienced outside of art" are at once the most venerable and the most popular. Because they are chiefly concerned with measuring the accuracy or "truth" of the characters and actions presented in literature, these approaches are traditionally labeled "mimetic"."