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Transcript of Literary Theory Power Point
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INTRODUCTION TO
Literary Theory
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Introduction to
Literary Theory
Table of Contents
3 ..................................................
22 ...........................................
64 .............................................
105................
153................
248..........................................
295..................................................2
Introduction
Feminist Theory
Marxist Theory
Psychoanalytic or Freudian Theory
Mythological or Archetypal Theory
New Historicism
Formalism
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IntroductionIntroduction
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Introduction
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Introduction
What is literary or critical theory?
What do you mean by critical perspective?
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Introduction
The terms literary theory and critical
theory refer to essentially the same fields
of study. They both address ways of lookingat literaturebeyond the typical plot-theme-
character-setting studies.
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Introduction
Just as a PERSPECTIVE is a way of
looking at something, a CRITICAL
PERSPECTIVE is a way of criticizing oranalyzing literature. Your CRITICAL
PERSPECTIVE is the view you bring to
the literature you read.
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Introduction
How and why did literary theories develop?
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Introduction
We all know that different people will
experience the same event differently. It
follows, then, that different people will
approach the same literary text differently.
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Introduction
One person may be offended by a
characters actions, while another finds
them comic.
One reader is energized by a storys
political implications, while another is
awed by the same storys philosophical
bent.
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Introduction
Literary theories emerged as ways to
explain different peoples views and
responses to literature. Rather than
insisting that one view is the best or
correct view, literary theory attempts to
find value in all views that are based on a
careful study of the literature.
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Introduction
What are the benefits of studying a work
from more than one critical perspective?
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Introduction
There are several benefits:
One of the views is likely to affirm your
perspective and speak to what you see in theliterature you are studying.
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Introduction
There are several benefits:
One of the views is likely to affirm your
perspective and speak to what you see in theliterature you are studying.
Studying a view different from yoursnot to
disagree with it, but to understand ithelps you
understand those who hold that view.
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Introduction
There are several benefits:
One of the views is likely to affirm your
perspective and speak to what you see in theliterature you are studying.
Studying a view different from yoursnot to
disagree with it, but to understand ithelps you
understand those who hold that view.
Studying a work from more than one view gives
you a deeper understanding of the authors work
and a better appreciation for the richness of it.14
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Introduction
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What does studying a work from multiple
critical perspectives involve?
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Introduction
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Essentially, all you have to do to study a work from
more than one critical perspective is to putyour own
view on hold and entertain the other view. Although
you may be a staunchgreen-thinker, you now ask
yourself, What would ayellow-thinkersee in this
work?
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Introduction
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What does studying a work from multiple critical
perspectivesnot
involve?
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Introduction
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First and foremost, studying a work from multiple
critical perspectives does not require that you agree
with any of the perspectives you study. You are not
being asked to become a yellow-thinker, only to
considerwithout criticism and judgmentwhat a
yellow-thinker would see in the text.
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Introduction
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Second, studying a work from multiple critical
perspectives does not require that you blend or merge
two or more perspectives into a single interpretation.
Some of the points of some of the theories are actually
mutually exclusive and cannot be reconciled. While
examining a work from the feminist perspective, you
do not need to take into account what a Marxist would
find. You would examine each perspective
independently.
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Introduction
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What are the most common or popular critical
theories?
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Introduction
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This presentation will introduce you to the following
critical theories:
Feminist
Marxist
Psychoanalytic or Freudian
Archetypal or Mythological
New Historicism
Formalism
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Feminist Theory
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Feminist Theory
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Feminist Theory
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The basis of the feminist movements,
both in literature and politics, is that
Western culture is fundamentallypatriarchal (i.e., created by men,
controlled by men, viewed through the
eyes of men, and evaluated by men).
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Feminist Theory
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The 1960s saw the rise of a new,
feminist approach to literary criticism.
Before the emergence of Feminist
Theory, the works of female writers (or
works about females) were examined
by the same standards as those by male
writers (and about men).
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Feminist Theory
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With the development of Feminist
Theory, old texts are reexamined, and
the portrayal of women in literature is
reevaluated. New writers create works
that more accurately reflect the
developing concept of the modern
woman.
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Feminist Theory
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The feminist approach is only partly
based on finding and exposing
suggestions of misogyny (negative
attitudes toward women) in literature.Feminists are interested in exposing the
ways women in literatureboth
authors and charactersare
undervalued.
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Feminist Theory
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Some feminist scholars have even
dissected individual words in Western
languages, suggesting that the
languages themselvesreflect a
patriarchal worldview.
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Feminist Theory
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Arguing that the past millennia in the
West have been dominated by men
whether politicians in power or thehistorians recording itfeminist critics
believe that Western literature reflects a
masculine bias.
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Feminist Theory
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As a result, Western literature presents
an inaccurate and potentially harmful
portrayal of women. In order to repair
the potential harm done and achievebalance, feminist critics insist that
works by and about women be added to
the literary canon and read from a
feminist perspective.
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Feminist Theory
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Three main areas of study and points of criticism
exist in the Feminist Theory:1. differences between men and women
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Feminist Theory
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Three main areas of study and points of criticism
exist in the Feminist Theory:1. differences between men and women
2. women in positions of power and power dynamics
between men and women
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Feminist Theory
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Three main areas of study and points of criticism
exist in the Feminist Theory:1. differences between men and women
2. women in positions of power and power dynamics
between men and women3. the female experience
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Feminist Theory
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Differences between men and women
One basic assumption of the feminist perspectiveis that gender determines everything, including
values and the ways language is used.
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Feminist Theory
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One basic assumption of the feminist perspectiveis that gender determines everything, including
values and the ways language is used.
The canon of literature printed, marketed, andtaught in schools must be expanded to include
the study of genres in which women
traditionally write: journals, diaries, and
personal letters.
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Feminist Theory
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The differences in the topics or issues aboutwhich men and women write and the differing
viewpoints from which men and women write
must be noted. All views must be respected as
equally valid.
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Feminist Theory
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Women in positions of power and power
dynamics between men and women Any evidence of the social, economic, and
political exploitation of women must be noted
and confronted. The feminist critic checks the
work to see whether female characters havepower and of what type of power it might be.
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Feminist Theory
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Any evidence of the social, economic, and
political exploitation of women must be noted
and confronted. The feminist critic checks the
work to see whether female characters havepower and of what type of power it might be.
A feminist critic views literature as a means by
which inequities can be identified, protested, and
possibly rectified.
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Feminist Theory
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A feminist critic will note the division of labor
and economics between men and women in the
work being studied.
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Feminist Theory
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A feminist critic will note the division of labor
and economics between men and women in the
work being studied.
A feminist critic will note how male and female
characters in the work interact with one another
in a variety of contexts. Does the woman act
subservient? Does the man treat the woman like
an adult? Are males and females politically and
economically equal?
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Feminist Theory
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The Female Experience
On the most basic levels, a womans experience oflife is different from a mans. Reading or viewing
from a feminist perspective includes examining what
aspects of feminine life are included in the work. Is
the narrative point of view male or female? Howdoes the narratormale or femaletreat plot events
and other characters?
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Feminist Theory
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On the most basic levels, a womans experience oflife is different from a mans. Reading or viewing
from a feminist perspective includes examining what
aspects of feminine life are included in the work. Is
the narrative point of view male or female? Howdoes the narratormale or femaletreat plot events
and other characters?
The feminist critic rejects any application of malestandards to the female personality. The female
personality must be judged independently from the
male personality and vice versa.
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Feminist Theory
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Feminist critics examine and celebrate all portrayalsof the creative, life-giving role of femininity. Women
have traditionally been portrayed as dependent on
men, but feminists point out that men are dependent
on women for humanitys most basic needbirthingchildren. All evidence of feminine nurture, healing,
life giving and restoring are examined.
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Feminist Theory
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Feminist theory is not fundamentally chauvinistic.Feminist critics explore literature for portrayals of
the concept that men and women are each
incomplete without the other. They do, however,
reject suggestions of studying only feminineincompleteness.
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Feminist Theory
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Essential questions for a feminist reading:
!What stereotypes of women are depicted in the text?
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Feminist Theory
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!What stereotypes of women are depicted in the text?!Are female characters oversimplified? Weak? Foolish?Excessively naive?
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Feminist Theory
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!What stereotypes of women are depicted in the text?!Are female characters oversimplified? Weak? Foolish?Excessively naive?
!
Do the female characters play major or minor roles inthe action of the work?
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Feminist Theory
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!What stereotypes of women are depicted in the text?!Are female characters oversimplified? Weak? Foolish?Excessively naive?
!
Do the female characters play major or minor roles inthe action of the work?
!Are they supportive or independent? Powerless or
strong? Subservient or in control?
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Feminist Theory
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!What stereotypes of women are depicted in the text?!Are female characters oversimplified? Weak? Foolish?Excessively naive?
!
Do the female characters play major or minor roles inthe action of the work?
!Are they supportive or independent? Powerless or
strong? Subservient or in control?
!If the female characters have any power, what kind is
it? Political? Economic? Social? Psychological?
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Feminist Theory
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!Are the female characters and situations in whichthey are placed oversimplified or presented fully and
in detail?
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Feminist Theory
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!Are the female characters and situations in whichthey are placed oversimplified or presented fully and
in detail?
!How do the male characters talk about the female
characters?
i i
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Feminist Theory
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!Are the female characters and situations in whichthey are placed oversimplified or presented fully and
in detail?
!How do the male characters talk about the female
characters?
!How do the male characters treat the female
characters?
F i i t Th
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Feminist Theory
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!Are the female characters and situations in whichthey are placed oversimplified or presented fully and
in detail?
!How do the male characters talk about the female
characters?
!How do the male characters treat the female
characters?
!How do the female characters act toward the male
characters?
F i i t Th
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Feminist Theory
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!Are the female characters and situations in whichthey are placed oversimplified or presented fully and
in detail?
!How do the male characters talk about the female
characters?
!How do the male characters treat the female
characters?
!How do the female characters act toward the male
characters?
!How do the female characters act toward each other?
F i i t Th
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Feminist Theory
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!Is the work, in general, sympathetic to femalecharacters? Too sympathetic?
F i i t Th
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Feminist Theory
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!Is the work, in general, sympathetic to femalecharacters? Too sympathetic?
!Do any of the works themes touch upon any idea
that could be seen as a feminist issue? Is the theme
supportive or disparaging of women?
Feminist Theory
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Feminist Theory
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!Is the work, in general, sympathetic to femalecharacters? Too sympathetic?
!Do any of the works themes touch upon any idea
that could be seen as a feminist issue? Is the theme
supportive or disparaging of women?
!Overall, do you think that the female characters are
believable? For that matter, do you think that the
male characters are believable?
Feminist Theory
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Feminist Theory
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Examining Cinderella from a Feminist
Perspective
Consider the potentially misogynist theme of
abused-girl-waiting-to-be-rescued-by-prince.
Feminist Theory
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Feminist Theory
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Consider the potentially misogynist theme of
abused-girl-waiting-to-be-rescued-by-prince.
Consider the values conveyed in the portrayal of
the good girl as physically beautiful and the
wicked girls as physically ugly.
Feminist Theory
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Feminist Theory
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Examine the potentially misogynist theme of the
courtship ritual of the princes ball:
By what standard (other than physical beauty)
will he choose whom to marry?
Feminist Theory
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Feminist Theory
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By what standard (other than physical beauty)
will he choose whom to marry?
Will the chosen woman have a choice in whether
or not to marry the prince?
Feminist Theory
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Feminist Theory
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By what standard (other than physical beauty)
will he choose whom to marry?
Will the chosen woman have a choice in whether
or not to marry the prince?
What is the basis of the princes love at first
sight with Cinderella?
Feminist Theory
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Feminist Theory
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Consider the feminist implication of
the fact that the good girl is passive, weak, andsubmissive and can do nothing (and does do
nothing) to improve her own condition;
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Feminist Theory
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the fact that the good girl is passive, weak, andsubmissive and can do nothing (and does do
nothing) to improve her own condition;
the fact that the powerful woman is portrayed as
wicked (and probably ugly).
Marxist Theory
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Marxist Theory
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Marxist Theory
Marxist Theory
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Marxist Theory
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The Marxist approach to literature is
based on the philosophy of Karl Marx, a
German philosopher and economist.
His major argument was that whoevercontrolled the means of production (the
factories) in a society controlled the
society.
Marxist Theory
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Marxist Theory
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Marx noted a disparity in the economic
and political power enjoyed by thefactory owners and that allowed to the
factory laborers.
Marxist Theory
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Marxist Theory
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He believed that the means of
production (i.e., the basis of power in
society) should be placed in the hands
those who actually operated them. Hewrote that economic and political
revolutions around the world would
eventually place power in the hands of
the masses, the laborers.
Marxist Theory
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Marxist Theory
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To read a work from a Marxist
perspective, one must understand that
Marxism asserts that literature is a
reflection of culture, and that culturecan be influenced by literature.
Marxists believe literature can instigate
revolution.
Marxist Theory
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Marxist Theory
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Four main areas of study:
economic power
Marxist Theory
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Marxist Theory
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economic power
materialism versus spirituality
Marxist Theory
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Marxist Theory
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economic power
materialism versus spirituality
class conflict
Marxist Theory
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Marxist Theory
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economic power
materialism versus spirituality
class conflict
art, literature, and ideologies
Marxist Theory
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Marxist Theory
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Economic Power
A society is shaped by its forces of production.Those who own the means of production dictate
what type of society it is.
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A society is shaped by its forces of production.Those who own the means of production dictate
what type of society it is.
The two main classes of society are the
bourgeoisie (who control the means of
production and wealth) and the proletariat (who
operate the means of production and are
controlled by the bourgeoisie).
Marxist Theory
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Since the bourgeoisie own the means ofproductionand, therefore, control the money
they can manipulate politics, government,
education, art, and media.
Marxist Theory
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Since the bourgeoisie own the means ofproductionand, therefore, control the money
they can manipulate politics, government,
education, art, and media.
Capitalism is flawed in that it creates
commodification (a desire for possessions, not
for their innate usefulness, but for their social
value). Display of material objects is the mostcommon way of showing off ones wealth.
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Commodification is one way the bourgeoisiekeep the proletariat oppressed. Whenever the
proletariat manages to acquire some sort of
status symbol, the bourgeoisie concocts a new
one; thus, the proletariat continues to struggle,never able to catch up.
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Materialism versus Spirituality
Regardless of what some might claim, socialvalues reflect material goals, not abstract ideals.
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Regardless of what some might claim, socialvalues reflect material goals, not abstract ideals.
The material world is the only non-subjective
element in a society. Money and material
possessions are the same by every measure
within a society, whereas spirituality is
completely subjective.
Marxist Theory
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Regardless of what some might claim, socialvalues reflect material goals, not abstract ideals.
The material world is the only non-subjective
element in a society. Money and material
possessions are the same by every measure
within a society, whereas spirituality is
completely subjective.
The quality of a persons life is not destroyed byspiritual failure but by material failure.
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Class Conflict
A Capitalist society will inevitability experienceconflict between its social classes.
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A Capitalist society will inevitability experienceconflict between its social classes.
The owners and the workers will have different
ideas about the division of the wealth generated,
and the owners will ultimately make thedecision.
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A Capitalist society will inevitability experienceconflict between its social classes.
The owners and the workers will have different
ideas about the division of the wealth generated,
and the owners will ultimately make thedecision.
This constant conflict, or dialectical
materialism, is what instigates change.
Marxist Theory
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The bourgeoisie present their political, economic,and social structures as the only reasonable ones.
The proletariat, indoctrinated from birth to have
pride in their station, are prevented from
wanting to overthrow their oppressors(ironically, the smaller and actually less-powerful
group).
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The bourgeoisie present their political, economic,and social structures as the only reasonable ones.
The proletariat, indoctrinated from birth to have
pride in their station, are prevented from
wanting to overthrow their oppressors(ironically, the smaller and actually less-powerful
group).
The only real social division is class. Divisions of
race, ethnicity, gender, and religion are artificial,devised by the bourgeoisie to distract the
proletariat from realizing their unity and
rebelling against their oppressors.
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Marx called on the proletariat to reject the socialstructure of the bourgeoisie, the rules that would
keep them subservient forever, and form their
own values. Such a course would be the only way
to escape the oppression, for the proletariatcould never defeat the bourgeoisie on its own
terms. For the workers to win, they must
establish new terms.
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Art, Literature, and Ideologies
Art and literature are among the vehicles bywhich the bourgeoisie impose their value system
on the proletariat. The arts can make the current
system seem attractive and logical, thus lulling
the workers into an acceptance of it.
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Art and literature are among the vehicles bywhich the bourgeoisie impose their value system
on the proletariat. The arts can make the current
system seem attractive and logical, thus lulling
the workers into an acceptance of it. Works of art and literature are enjoyable, so the
audience is unaware of being manipulated.
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The bourgeoisie control most artistic outputbecause, whether through patronage or
sponsorship, they are the entity that funds the
arts and entertainment. Since the bourgeoisie
materially support the writers and the paintersowning the means of production as well as
serving as primary consumersthe artist must
be careful not to offend bourgeois values.
Anything offensive or challenging to thebourgeoisie will simply not be published or sold.
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The bourgeoisie control most artistic output
because, whether through patronage or
sponsorship, they are the entity that funds the
arts and entertainment. Since the bourgeoisie
materially support the writers and the paintersowning the means of production as well as
serving as primary consumersthe artist must
be careful not to offend bourgeois values.
Anything offensive or challenging to thebourgeoisie will simply not be published or sold.
Any artist who wishes to criticize the bourgeoisie
must do so in a subtle way (satire, irony, etc.).
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Essential questions for a Marxist reading:
!
Who are the powerful people in the text? Who arethe powerless? Who receives the most attention?
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!
Who are the powerful people in the text? Who arethe powerless? Who receives the most attention?
!Why do the powerful have the power? Why are the
powerless without power?
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!
Who are the powerful people in the text? Who arethe powerless? Who receives the most attention?
!Why do the powerful have the power? Why are the
powerless without power?
!Is there class conflict and struggle?
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!
Who are the powerful people in the text? Who arethe powerless? Who receives the most attention?
!Why do the powerful have the power? Why are the
powerless without power?
!Is there class conflict and struggle?
!Is there alienation and/or fragmentation evident in
any of the characters? If so, in whom? The powerful?
The powerless?
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!
Who are the powerful people in the text? Who arethe powerless? Who receives the most attention?
!Why do the powerful have the power? Why are the
powerless without power?
!Is there class conflict and struggle?
!Is there alienation and/or fragmentation evident in
any of the characters? If so, in whom? The powerful?
The powerless?
!Do the powerful in the text suppress the powerless?
How? News? Media? Religion? Literature?
Marxist Theory
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!
What can you infer from the setting about thedistribution of wealth?
Marxist Theory
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!
What can you infer from the setting about thedistribution of wealth?
!What does the society value? Are possessions
acquired for their usefulness or their social value?
Marxist Theory
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!
What can you infer from the setting about thedistribution of wealth?
!What does the society value? Are possessions
acquired for their usefulness or their social value?
!Is the text itself a product of the society in which it
was created? How do you know?
Marxist Theory
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!
What can you infer from the setting about thedistribution of wealth?
!What does the society value? Are possessions
acquired for their usefulness or their social value?
!Is the text itself a product of the society in which it
was created? How do you know?
!Is the work consistent in its ideologies, or is there an
inner conflict?
Marxist Theory
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!
What can you infer from the setting about thedistribution of wealth?
!What does the society value? Are possessions
acquired for their usefulness or their social value?
!Is the text itself a product of the society in which it
was created? How do you know?
!Is the work consistent in its ideologies, or is there an
inner conflict?
!After reading this text, do you notice any system of
oppression that you have accepted? If so, what
system, and how do you think you came to accept it?
Marxist Theory
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Examining Cinderella from a Marxist
Perspective
Consider Cinderella as a representative of the
proletariat:
Marxist Theory
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Consider Cinderella as a representative of the
proletariat:
oppressed by her bourgeoisie stepmother and
stepsisters, who have stolen her rightfulinheritance and turned her into a servant in her
own home;
Marxist Theory
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Consider Cinderella as a representative of the
proletariat:
oppressed by her bourgeoisie stepmother and
stepsisters, who have stolen her rightfulinheritance and turned her into a servant in her
own home;
desiring to join the ranks of the bourgeoisie by
marrying the prince.
Marxist Theory
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Consider the ball gown, glass slippers, and golden
coach as evidence of commodification; without
these possessions, Cinderella cannot hope to rise
out of the proletariat and join the bourgeoisie.
Psychoanalytic or Freudian Theory
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Psychoanalyticor Freudian Theory
Psychoanalytic or Freudian Theory
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The Psychoanalytic or Freudian Theory
encompasses two almost contradictory
critical theories. The first focuses on
the text itself, with no regard to outside
influences; the second focuses on the
author of the text.
Psychoanalytic or Freudian Theory
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According to the first view, reading and
interpretation are limited to the work
itself. One will understand the work byexamining conflicts, characters, dream
sequences, and symbols.
Psychoanalytic or Freudian Theory
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One will further understand that a
characters outward behavior might
conflict with inner desires or might
reflect as-yet-undiscovered inner desires.
Psychoanalytic or Freudian Theory
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There are strong Oedipal connotations in Freudian
theory:
Main areas of study/points of criticism of the
first view are:
the sons desire for his mother
Psychoanalytic or Freudian Theory
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There are strong Oedipal connotations in Freudian
theory:
the sons desire for his mother
the fathers envy of the son and rivalry for
the mothers attention
Psychoanalytic or Freudian Theory
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There are strong Oedipal connotations in Freudian
theory:
the sons desire for his mother
the fathers envy of the son and rivalry for
the mothers attention
the daughters desire for her father
Psychoanalytic or Freudian Theory
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112
There are strong Oedipal connotations in Freudian
theory:
the sons desire for his mother
the fathers envy of the son and rivalry for
the mothers attention
the daughters desire for her father
the mothers envy of the daughter and rivalryfor the fathers attention.
Psychoanalytic or Freudian Theory
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113
There are strong Oedipal connotations in Freudian
theory:
the sons desire for his mother
the fathers envy of the son and rivalry for
the mothers attention
the daughters desire for her father
the mothers envy of the daughter and rivalryfor the fathers attention.
Of course, these all operate on a subconscious level
to avoid violating serious social mores.
Psychoanalytic or Freudian Theory
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There is an emphasis on the meaning of dreams.
It is in dreams that a persons subconscious
desires are revealed.
Psychoanalytic or Freudian Theory
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There is an emphasis on the meaning of dreams.
It is in dreams that a persons subconscious
desires are revealed.
What a person cannot express or do because
of social rules will be expressed and
accomplished in dreams, where there are no
social rules.
Psychoanalytic or Freudian Theory
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There is an emphasis on the meaning of dreams.
It is in dreams that a persons subconscious
desires are revealed.
What a person cannot express or do because
of social rules will be expressed and
accomplished in dreams, where there are no
social rules.
Most of the time, people are not even aware
what they secretly desire until their
subconscious goes unchecked in sleep.
Psychoanalytic or Freudian Theory
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According to psychoanalytic theory, there are
three parts to the subconscious, which is the
largest part of the human personality:
The idthe basic desire.
The id has no sense of conscience, thus
making it everyones inner child. Children,before they are taught social skills, operate
entirely through the id. They cry in public,
perform bodily functions with no sense of
shame, and demand immediate gratification
of their needs and desires.
Psychoanalytic or Freudian Theory
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The superegothe opposite of the id.
The superego is the repository of all socially
imposed behavior and sense of guilt. Whilethe id is innate, the superego is learned.
Humans develop a superego by having
parents scold them and other members of
society teach them.
Psychoanalytic or Freudian Theory
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The superegothe opposite of the id.
How one is socializedby punishment and
shamewill have a lifelong impact on thefunctioning of his or her subconscious.
Psychoanalytic or Freudian Theory
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The egoreality.
The ego struggles to achieve a balance
between the id and the superego. The egotakes the desires of the id, filters them
through the superego, and devises an action
that satisfies both. The ego realizes that the
id must be satisfied but that there are
certain socially acceptable ways to achieve
satisfaction.
Psychoanalytic or Freudian Theory
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The egoreality.
Freudian theory asserts that psychological
problems are all the result of imbalancesbetween the id, superego, and ego.
Psychoanalytic or Freudian Theory
M i f t d / i t f iti i f th
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Main areas of study/points of criticism of the
second view:
An essential relationship exists between the author
of the work and the work itself. In order to
understand a work, one must fully understand the
authors life and values.
Psychoanalytic or Freudian Theory
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An essential relationship exists between the author
of the work and the work itself. In order to
understand a work, one must fully understand the
authors life and values.
Although a work might not be blatantly
autobiographical, psychoanalysts argue that there
is always something of the author in the work,
whether it be a character, character trait, theme, or
motif.
Psychoanalytic or Freudian Theory
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Often, authors will satirize characters they dislike
or will be overtly sympathetic to those they do like.
Psychoanalytic or Freudian Theory
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Often, authors will satirize characters they dislike
or will be overtly sympathetic to those they do like.
This authors bias often has an effect on the reader,
which is exactly what the author wants. When
reading, people are extremely vulnerable to the
authors chosen point of view (the only way they
hear the story is through the authors narrator).
Psychoanalytic or Freudian Theory
This type of psychoanalytic reading includes the
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Reference to what is known or surmised about
the authors personality is used to explain and
interpret a literary work. For example, Charles
Dickens grew up poor and later wrote bookssympathetic to boys growing up poor.
This type of psychoanalytic reading includes the
following:
Psychoanalytic or Freudian Theory
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Reference to what is known or surmised about
the authors personality is used to explain and
interpret a literary work. For example, Charles
Dickens grew up poor and later wrote bookssympathetic to boys growing up poor.
Reference to a literary work is made in order to
establish an understanding of the mind of the
author. For example, judging by Harper Lees ToKill a Mockingbird, one might reasonably
conclude that Harper Lee herself was sympathetic
to the plight of black Americans.
Psychoanalytic or Freudian Theory
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Studying the literary work of an author is a
means of knowing the author as a person. The
more novels by Charles Dickens one reads, the
more one can infer about the authors beliefs,values, hopes, fears, etc.
Psychoanalytic or Freudian Theory
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An artist may put his or her repressed desires on
the page in the form of actions performed by
characters. For example, an author who
consistently writes stories in which his femalecharacters are weak, dependent, or unintelligent
might be expressing latent misogynist
tendencies. Likewise, a female author might
express her latent misandry through weak,blatantly evil, or thoroughly inconsequential
male characters.
Psychoanalytic or Freudian Theory
Essential questions for a psychoanalytic reading
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Essential questions for a psychoanalytic reading
are:
!What are the traits of the main character?
Psychoanalytic or Freudian Theory
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!What are the traits of the main character?
!How does the author reveal those traits?
Psychoanalytic or Freudian Theory
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!What are the traits of the main character?
!How does the author reveal those traits?
!What do you learn about the character through the
narrator?
Psychoanalytic or Freudian Theory
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!What are the traits of the main character?
!How does the author reveal those traits?
!What do you learn about the character through the
narrator?
!What do you learn about the character from the way
other characters relate to him or her?
Psychoanalytic or Freudian Theory
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!What are the traits of the main character?
!How does the author reveal those traits?
!What do you learn about the character through the
narrator?
!What do you learn about the character from the way
other characters relate to him or her?
!What do you infer about the character from his or
her thoughts, actions, and speech?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between the authors
portrayal of the character and how other characters
react to him or her?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between the authors
portrayal of the character and how other characters
react to him or her?
!What discrepancies exist between the authorsportrayal of the character and the readers
inferences?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between the authors
portrayal of the character and how other characters
react to him or her?
!What discrepancies exist between the authorsportrayal of the character and the readers
inferences?
!
Is the main character a dynamic character (does heor she change throughout the course of the story)? If
so, how and why?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between the authors
portrayal of the character and how other characters
react to him or her?
!What discrepancies exist between the authorsportrayal of the character and the readers
inferences?
!
Is the main character a dynamic character (does heor she change throughout the course of the story)? If
so, how and why?
!How does the character view him or herself?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between a characters view
of him or herself and other characters reactions, the
authors portrayal, and/or reader inference?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between a characters view
of him or herself and other characters reactions, the
authors portrayal, and/or reader inference?
!How do the characters view one another?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between a characters view
of him or herself and other characters reactions, the
authors portrayal, and/or reader inference?
!How do the characters view one another?
!Is there any discrepancy between a characters
personal opinion of him or herself and how others
think about him or her?
Psychoanalytic or Freudian Theory
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!What discrepancies exist between a characters view
of him or herself and other characters reactions, the
authors portrayal, and/or reader inference?
!How do the characters view one another?
!Is there any discrepancy between a characters
personal opinion of him or herself and how others
think about him or her?!What types of relationships exist in the work?
Psychoanalytic or Freudian Theory
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!What types of images are used in conjunction with
the character? What do they symbolize?
Psychoanalytic or Freudian Theory
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!What types of images are used in conjunction with
the character? What do they symbolize?
!What symbols are used in the course of the story?
What do they symbolize?
Psychoanalytic or Freudian Theory
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!What types of images are used in conjunction with
the character? What do they symbolize?
!What symbols are used in the course of the story?
What do they symbolize?
!Do any characters have dreams or inner
monologues? What is revealed about a character
through dreams that would not otherwise berevealed?
Psychoanalytic or Freudian Theory
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!Are there any inner conflicts within the character?
How are these conflicts revealed? How are they dealt
with? Are they ever resolved? How?
Psychoanalytic or Freudian Theory
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!Are there any inner conflicts within the character?
How are these conflicts revealed? How are they dealt
with? Are they ever resolved? How?
!Do any characters perform uncharacteristic actions?If so, what? What could these actions mean?
Psychoanalytic or Freudian Theory
Examining Cinderella from a Psychoanalytic
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Consider Cinderella as a representative of the id
expressing desire.
g y y
Perspective
Psychoanalytic or Freudian Theory
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Consider Cinderella as a representative of the id
expressing desire.
Consider the stepmother and stepsisters as
representatives of the superegopreventing the idfrom fulfilling its desire.
Psychoanalytic or Freudian Theory
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Consider Cinderella as a representative of the id
expressing desire.
Consider the stepmother and stepsisters as
representatives of the superegopreventing theid from fulfilling its desire.
Consider the fairy godmother and the prince as
representatives of the egonegotiating between
the id and the superego and allowing the desiresof the id to be fulfilled in a socially acceptable
manner.
Psychoanalytic or Freudian Theory
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Examine the discrepancy between the narrators
depiction of the stepmother and stepsisters and
their views of themselves.
Psychoanalytic or Freudian Theory
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Examine the discrepancy between the narrators
depiction of the stepmother and stepsisters and
their views of themselves.
Examine the text for evidence of latent misogynyor misandry on the part of Charles Perrault (or
the Grimm brothers).
Mythological or Archetypal Theory
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Archetypal or
Mythological Theory
Mythological or Archetypal Theory
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Mythological, archetypal, andpsychological criticism are all closely
related. This is because Freud based
many of his theories on the idea of the
social archetype. His pupil, Carl Jung,refined Freuds theories and expanded
them into a more cross-cultural
philosophy.
Mythological or Archetypal Theory
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Critics who examine texts from a
mythological/archetypal standpoint are
looking for symbols. Jung defined an
archetype as a figure...that repeatsitself in the course of history wherever
creative fantasy is fully manifested.
Mythological or Archetypal Theory
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Jung theorized that human beings wereborn with an innate knowledge of
certain archetypes. The evidence of
this, Jung claimed, lay in the fact that
some myths are repeated throughouthistory in cultures and eras that could
not possibly have had any contact with
one another.
Mythological or Archetypal Theory
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Every culture has a creation story, a-life-
after-death belief, and a reason for
human failings, and these storieswhen studied comparativelyare far
more similar than different.
Mythological or Archetypal Theory
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When looking for archetypes, critics
take note of general themes, characters,
and situations that recur in literatureacross writers, genres, periods, and
societies.
Mythological or Archetypal Theory
Traditional literary and mythological
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Traditional literary and mythological
archetypes can be successfully
translated to other genres and time
periods. Because they draw on feelings,
situations, concerns, and issues that
have been a part of the humancondition in every generation, the plays
of William Shakespeare, the novels of
Jane Austen, the episodes of Homer can
be, and have been, updated andreformatted time and time again.
Mythological or Archetypal Theory
Three main points of study:
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1. archetypal characters
Mythological or Archetypal Theory
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1. archetypal characters
2. archetypal images
Mythological or Archetypal Theory
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1. archetypal characters
2. archetypal images
3. archetypal situations
Mythological or Archetypal Theory
Archetypal Characters
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a figure, often larger than life, whose search
for identity and/or fulfillment results in his
or her destruction (often accompanied by
the destruction of society in general).
the HERO:
Mythological or Archetypal Theory
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a figure, often larger than life, whose search
for identity and/or fulfillment results in his
or her destruction (often accompanied by
the destruction of society in general). The aftermath of the death of the hero,
however, results in progress toward some
ideal.
the HERO:
Mythological or Archetypal Theory
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While this applies to modern superheroes
such as Superman (Clark Kent, searching for
the balance between his super self and his
mortal identity), it also applies to the centralfigures in many religions.
the HERO:
Mythological or Archetypal Theory
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Christianitys Jesus, who must come to terms
with his destiny as the Messiah, Judaisms
Moses, reluctant to fulfill his assigned
destiny as the leader of the Israelites, andthousands of other literary and religious
figures throughout history are examples of
the archetype.
the HERO:
Mythological or Archetypal Theory
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Christianitys Jesus, who must come to terms
with his destiny as the Messiah, Judaisms
Moses, reluctant to fulfill his assigned
destiny as the leader of the Israelites, andthousands of other literary and religious
figures throughout history are examples of
the archetype.
Variations of the HERO figure include the
orphaned prince or the lost chieftains son
raised ignorant of his heritage until he is
rediscovered (King Arthur, Theseus).
the HERO:
Mythological or Archetypal Theory
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an innocent character on whom a situation is
blamedor who assumes the blame for a
situationand is punished in place of the
truly guilty party, thus removing the guiltfrom the culprit and from society.
the SCAPEGOAT:
Mythological or Archetypal Theory
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a character who is separated from (or
separates him or herself from) society due to
either an impairment or an advantage that
sets this character apart from others. Often,the Hero is an outcast at some point in his or
her story.
the LONER or OUTCAST:
Mythological or Archetypal Theory
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a character who is separated from (or
separates him or herself from) society due to
either an impairment or an advantage that
sets this character apart from others. Often,the Hero is an outcast at some point in his or
her story.
Jesus goes into the desert to discern his
destiny.
the LONER or OUTCAST:
Mythological or Archetypal Theory
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a character who is separated from (or
separates him or herself from) society due to
either an impairment or an advantage that
sets this character apart from others. Often,the Hero is an outcast at some point in his or
her story.
Jesus goes into the desert to discern his
destiny.
Buddha leaves society to attain Nirvana.
the LONER or OUTCAST:
Mythological or Archetypal Theory
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Victor Frankenstein travels to remote locales
to avoid people when he realizes that he has
created a monster.
the LONER or OUTCAST:
Mythological or Archetypal Theory
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the UNDERDOG, the smaller, weaker, less-
worldly-wise character, who usually emerges
victorious at the end of the story;
Two common variations of the LONER are
Mythological or Archetypal Theory
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the UNDERDOG, the smaller, weaker, less-
worldly wise character, who usually emerges
victorious at the end of the story;
the guilt-ridden figure in search ofredemption.
Two common variations of the LONER are
Mythological or Archetypal Theory
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the male or female personification of evil.
the VILLAIN:
Mythological or Archetypal Theory
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the male or female personification of evil.
While nearly all works of literature include
an antagonist to provide conflict with the
protagonist, not all antagonists are villains.
the VILLAIN:
Mythological or Archetypal Theory
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Villains personify evil. Their malice is often
apparently unmotivated, or is motivated by a
single grievance from the past. The villains
malice is often limitless, and rarely is thevillain reformed within the context of the
story. Examples of archetypal villains are
Satan and Loki, from Norse mythology.
the VILLAIN:
Mythological or Archetypal Theory
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the mad scientist
Some variations of the VILLAIN figure include:
Mythological or Archetypal Theory
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the mad scientist
the bully
Some variations of the VILLAIN figure include:
Mythological or Archetypal Theory
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the female who possesses what the male
desires and uses his desire (either
intentionally or unintentionally) as a means
to his ultimate destruction. Examples areEve, Juliet, Lady Macbeth.
the TEMPTRESS:
Mythological or Archetypal Theory
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Mother Nature, Mother Earththe
nurturing, life-giving aspect of femininity.
the EARTH MOTHER/GODDESS:
Mythological or Archetypal Theory
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the often-unidentified feminine inspiration
for works of art and literature. Examples
would be Dantes Beatrice, Shakespeares
Dark Lady, etc.
the SPIRIT or INTELLECT:
Mythological or Archetypal Theory
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largely of Eastern origin, the sage is the
elderly wise man, the teacher or mentor.
Examples from Western literature would be
Merlin and Tiresias.
the SAGE:
Mythological or Archetypal Theory
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largely of Eastern origin, the sage is the
elderly wise man, the teacher or mentor.
Examples from Western literature would be
Merlin and Tiresias. Yoda from Star Wars and Gandalf from The
Hobbit and The Lord of the Rings are
contemporary derivations.
the SAGE:
Mythological or Archetypal Theory
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the wise woman, the crone, or witch.
Some variations of the SAGE include:
Mythological or Archetypal Theory
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the wise woman, the crone, or witch.
Note that, while the male SAGEs wisdom is
usually spiritual or philosophical (often with
political or military applications), the wisewomans wisdom tends to concern the
workings of naturehence, the connection
of the wise woman with witchcraft and the
associated superstitions.
Some variations of the SAGE include:
Mythological or Archetypal Theory
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the stern, but loving authority figure.
Some variations of the SAGE include:
Mythological or Archetypal Theory
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the stern, but loving authority figure.
the oracle: male or female prophet, fortune-
teller, soothsayer.
Some variations of the SAGE include:
Mythological or Archetypal Theory
Archetypal Images
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red as blood, anger, passion, violence;
COLORS:
Mythological or Archetypal Theory
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red as blood, anger, passion, violence;
gold as greatness, value, wealth;
COLORS:
Mythological or Archetypal Theory
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red as blood, anger, passion, violence;
gold as greatness, value, wealth;
green as fertility, luxury, growth;
COLORS:
Mythological or Archetypal Theory
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red as blood, anger, passion, violence;
gold as greatness, value, wealth;
green as fertility, luxury, growth;
blue (the color of the sky) as peace, serenity;
COLORS:
Mythological or Archetypal Theory
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red as blood, anger, passion, violence;
gold as greatness, value, wealth;
green as fertility, luxury, growth;
blue (the color of the sky) as peace, serenity;
white as purity, goodness, God-like holiness,
etc.
COLORS:
Mythological or Archetypal Theory
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three for the Christian Trinity, stability (a
stand with three legs can stand steadily on
most surfaces);
NUMBERS:
Mythological or Archetypal Theory
S
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three for the Christian Trinity, stability (a
stand with three legs can stand steadily on
most surfaces);
four for the four seasons, the four ancientelements (earth, water, fire, air);
NUMBERS:
Mythological or Archetypal Theory
NUMBERS
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three for the Christian Trinity, stability (a
stand with three legs can stand steadily on
most surfaces);
four for the four seasons, the four ancientelements (earth, water, fire, air);
twelve for the months of the year, the tribes
of ancient Israel, the apostles of Jesus.
NUMBERS:
Mythological or Archetypal Theory
WATER
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the source of life and sustenance; cleansing
or purification; baptism.
WATER:
Mythological or Archetypal Theory
FIRE
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ambiguously both protective and destructive;
FIRE:
Mythological or Archetypal Theory
FIRE
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ambiguously both protective and destructive;
on an archetypal level, fire often symbolizes
human knowledge and industry (Prometheus
stole fire from the gods and gave it tohumankind when there were no other gifts
left to give.)
FIRE:
Mythological or Archetypal Theory
Th FOUR ANCIENT ELEMENTS
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fire
The FOUR ANCIENT ELEMENTS:
Mythological or Archetypal Theory
Th FOUR ANCIENT ELEMENTS
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fire
water
The FOUR ANCIENT ELEMENTS:
Mythological or Archetypal Theory
Th FOUR ANCIENT ELEMENTS
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fire
water
air
The FOUR ANCIENT ELEMENTS:
Mythological or Archetypal Theory
The FOUR ANCIENT ELEMENTS:
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fire
water
air
earth.
The FOUR ANCIENT ELEMENTS:
Mythological or Archetypal Theory
GARDENS:
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natural abundance;
GARDENS:
Mythological or Archetypal Theory
GARDENS:
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natural abundance;
easy, beautiful life;
GARDENS:
Mythological or Archetypal Theory
GARDENS:
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natural abundance;
easy, beautiful life;
new birth, hope;
GARDENS:
Mythological or Archetypal Theory
GARDENS:
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natural abundance;
easy, beautiful life;
new birth, hope;
Eden, the original Paradise from which
humankind was expelled.
GARDENS:
Mythological or Archetypal Theory
GEOMETRIC SHAPES:
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a triangle for the Trinity
GEOMETRIC SHAPES:
Mythological or Archetypal Theory
GEOMETRIC SHAPES:
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a triangle for the Trinity
a circle for perfection and eternity,
wholeness, union.
GEOMETRIC SHAPES:
Mythological or Archetypal Theory
CELESTIAL BODIES:
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the sun (masculine) is both the giver and
destroyer of life.
CELESTIAL BODIES:
Mythological or Archetypal Theory
CELESTIAL BODIES:
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the sun (masculine) is both the giver and
destroyer of life
the moon (feminine) marks the passage of
time and controls the course of humanevents. Planting, harvesting, etc., are all
determined more by the phases of the moon
than the progress of the sun.
CELESTIAL BODIES:
Mythological or Archetypal Theory
MASCULINE IMAGES/SYMBOLS:
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columns
MASCULINE IMAGES/SYMBOLS:
Mythological or Archetypal Theory
MASCULINE IMAGES/SYMBOLS:
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columns
towers
MASCULINE IMAGES/SYMBOLS:
Mythological or Archetypal Theory
MASCULINE IMAGES/SYMBOLS:
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columns
towers
boats
MASCULINE IMAGES/SYMBOLS:
Mythological or Archetypal Theory
MASCULINE IMAGES/SYMBOLS:
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columns
towers
boats
trees
MASCULINE IMAGES/SYMBOLS:
Mythological or Archetypal Theory
MASCULINE IMAGES/SYMBOLS:
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columns
towers
boats
trees
etc.
MASCULINE IMAGES/SYMBOLS:
Mythological or Archetypal Theory
FEMININE IMAGES/SYMBOLS:
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bodies of water
FEMININE IMAGES/SYMBOLS:
Mythological or Archetypal Theory
FEMININE IMAGES/SYMBOLS:
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bodies of water
caves
FEMININE IMAGES/SYMBOLS:
Mythological or Archetypal Theory
FEMININE IMAGES/SYMBOLS:
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bodies of water
caves
doorways
Mythological or Archetypal Theory
FEMININE IMAGES/SYMBOLS:
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bodies of water
caves
doorways
windows.
Mythological or Archetypal Theory
CAVES:
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ambiguously can represent the womb (the
source of life) and the grave.
Mythological or Archetypal Theory
CAVES:
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ambiguously can represent the womb (the
source of life) and the grave
often represent the entrance to the
underworld (related to the grave), as well asto the unexplored regions of the human
mind and soul.
Mythological or Archetypal Theory
YIN AND YANG:
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any scheme that suggests that each of a pair
of opposites partakes of the others nature,
complements the other, and essentially
completes the other; the idea that without abalance of opposing forces, the world would
erupt into chaos.
Mythological or Archetypal Theory
Archetypal Situations
the QUEST:
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the heros endeavor to establish his or her
identity or fulfill his or her destiny.
Q
Mythological or Archetypal Theory
Variations on the QUEST can include:
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the Faustian bargain: the selling of ones soul
to the devil (metaphorically representing the
notion that one would give anything in
order to) in exchange for unlimited power,knowledge, wealth, etc. Examples include
King Midas.
Q
Mythological or Archetypal Theory
Variations on the QUEST can include:
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the Faustian bargain: the selling of ones soul
to the devil (metaphorically representing the
notion that one would give anything in
order to) in exchange for unlimited power,knowledge, wealth, etc. Examples include
King Midas.
the pursuit of revenge for a real or perceived
wrong, as exemplified by Captain Ahabsquest in Moby Dick.
Mythological or Archetypal Theory
Variations on the QUEST can include:
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the descent into the underworld. (Note that
this is usually one part of the quest rather
than the entire quest itself.)
Mythological or Archetypal Theory
the RENEWAL OF LIFE:
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death and rebirth, resurrection as seen in the
cycle of the seasons, the phases of the day,
sleeping and waking. Examples are
Sleeping Beauty, The Secret Garden, etc.
Mythological or Archetypal Theory
INITIATION:
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coming of age, rites of passage. Some
examples include the first hunt, weddings,
teenage angst films.
Mythological or Archetypal Theory
THE FALL:
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any event that marks a loss of innocence; a
devolution from a paradisiacal life or
viewpoint to a tainted one.
Mythological or Archetypal Theory
REDEMPTIVE SACRIFICE:
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any voluntary loss, especially a loss of life,
that results in anothers gaining or regaining
a desired state.
Mythological or Archetypal Theory
the CATALOG OF DIFFICULT TASKS:
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(labors of Hercules, Cinderellas treatment
by her stepmother and stepsisters, etc.).
Mythological or Archetypal Theory
the END OF THE WORLD:
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usually apocalyptic, involving warfare, a
huge battle, a metaphoric final battle
between good and evil.
Mythological or Archetypal Theory
Variations on the end of the world include
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Armageddon: the final battle between good
and evil according to the Christian New
Testament (book of Revelation), in which
evil is finally vanquished, evildoers receivetheir eternal punishment, and God reigns
over a newly created Heaven and Earth;
Mythological or Archetypal Theory
Variations on the end of the world include
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Ragnarok: the final battle between two
feuding segments of the Norse pantheon.
Both sides are largely decimated, as is the
human race. Two humans survive torepopulate the human world and worship a
new pantheon formed of the gods who
survive the battle.
Mythological or Archetypal Theory
Variations on the end of the world include
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the Great Flood: found in the Judeo-
Christian worldview and other belief
systems from around the world, the story of
a great deluge that covered the earth with
water, killing an entire generation of life
forms on earth. A handful survived,
repopulating the earth. According to these
several accounts, the flood was apunishment for human wrongdoing.
Mythological or Archetypal Theory
the TABOO:
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the commission of a culturally forbidden act,
such as incest or patricide, often
unknowingly or inevitably. Any act or
attitude that can be seen as unnatural, a
crime against the ways Nature is supposed
to operate.
Mythological or Archetypal Theory
the BANQUET:
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fellowship; nourishment of the body and
soul; display of wealth; often used as a
symbol for salvation, Heaven.
Mythological or Archetypal Theory
Essential questions for a mythological/
archetypal reading:
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!Examine all of the charactersmajor and minorand their situations. What archetypes seem to be
present?
Mythological or Archetypal Theory
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!Examine all of the charactersmajor and minorand their situations. What archetypes seem to be
present?
!
How do any of the characters change over time?What events or people make them change?
Mythological or Archetypal Theory
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!Examine all of the charactersmajor and minorand their situations. What archetypes seem to be
present?
!
How do any of the characters change over time?What events or people make them change?
!What is suggested in the setting (time of day, season
of year, locationgarden, body of water, etc.) that
might suggest an archetypal reading?
Mythological or Archetypal Theory
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!What types of symbols are used? What do theyrepresent?
Mythological or Archetypal Theory
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!What types of symbols are used? What do theyrepresent?
!How are the symbols in this work different from the
traditional uses of those symbols? What issignificant about this difference?
Mythological or Archetypal Theory
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!What types of symbols are used? What do theyrepresent?
!How are the symbols in this work different from the
traditional uses of those symbols? What issignificant about this difference?
!What myths are at work in different parts of this
work? What features of the story are reminiscent of
other stories you know?
Mythological or Archetypal Theory
d d ll d h b ll
Examining Cinderella from an Archetypal
Perspective
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Consider Cinderellas attendance at the ball assymbolic of her attaining salvation. (The tasks
assigned to her by her stepmother and
stepsistersthe temptersdistract her from
focusing on her own salvation. Through theagency of a supernatural entitythe fairy
godmothershe receives the unearned love of
the prince.)
Mythological or Archetypal Theory
h h d
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Examine the stepmother and stepsisters asarchetypal villains.
Mythological or Archetypal Theory
h h d
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Examine the stepmother and stepsisters asarchetypal villains.
Examine the chores Cinderella must complete
(especially involving the beans in the fireplace in
Grimm version) as the archetypal catalogue of
difficult tasks.
New Historicism
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New Historicism
New Historicism
A common tendency in the study of literature
d f
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written in, and/or set in, a past or foreign
culture is to assume a direct comparison
between the culture as presented in the text
and as it really was.
New Historicism asserts that such a
comparison is impossible for two essential
reasons.
New Historicism
First, the truth of a foreign or past culture can never
be known as established and unchangeable.
A d di f h h i b
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Any understanding of the truth is, at best,a matter of interpretation on the parts of
both the writer and the reader.
This is most blatantly evident in the factthat the losers of history are hardly ever
heard. The culture that is dominated by
another is often lost to history because it is
the powerful who have the resources torecord history.
New Historicism
E i h ll
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Even in recent past events, who reallyknows both sides of the story? Who really
knows the whole of theArab-Israelistory? Or
the Iraqi story?
New Historicists argue that these unknown
histories are just as significant as the
histories of the culture of power and should
be included in any world-view.
New Historicism
Si h d d
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Since these unrepresented or under-represented histories often contradict
traditional understandings, there is no
way to know the absolutehistorical truth.
New Historicism
Second, while the text under consideration does
indeed reflectthe culture in which it was written (and
t d i hi h it i t) it l ti i t i
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to some degree in which it is set), it alsoparticipatesinthe culture in which it is written.
The very existence of that text in its culture
changes the culture it reflects.
While works like To Kill a Mockingbirdand
A Raisin in the Suncertainly reflected the
culture of the mid-20th century United
States, both also raised awareness ofprejudice and injustice and helped to bring
about change.
New Historicism
Main areas of study/points of criticism:
Traditional history is, by its nature, a subjective
ti ll t ld f th i t f i f th
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narrative, usually told from the point of view of thepowerful.
New Historicism
Traditional history is, by its nature, a subjective
ti ll t ld f th i t f i f th
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narrative, usually told from the point of view of thepowerful.
The losers of history do not have the means to
write their stories, nor is there usually anaudience interested in hearing them. Most
cultures, once dominated by another, are forced
to forget their past.
New Historicism
Traditional history is, by its nature, a subjective
ti ll t ld f th i t f i f th
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narrative, usually told from the point of view of thepowerful.
The losers of history do not have the means to
write their stories, nor is there usually anaudience interested in hearing them. Most
cultures, once dominated by another, are forced
to forget their past.
To maintain its sovereignty, the culture of power
simply does not allow the defeated culture to be
remembered.
New Historicism
Traditional history is not only subjectively written, it
i l d d di d bj ti l
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