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Preface | |
Getting Started: The Precritical Response | |
Setting | |
Plot | |
Character | |
Structure | |
Style | |
Atmosphere | |
Theme | |
Traditional Approaches | |
First, a Note on Traditional Approaches | |
First Things First: Textual Scholarship, Genres, and Source Study | |
Textual Scholarship: Do We Have an Accurate Version of What We Are Studying? | |
General Observations | |
Text Study in Practice | |
Matters of Genre: What Are We Dealing With? | |
An Overview of Genre | |
Genre Characteristics in Practice | |
Source Study: Did Earlier Writings Help this Work Come into Being? | |
Historical and Biographical Approaches | |
General Observations | |
Historical and Biographical Approaches in Practice | |
To His Coy Mistress | |
Hamlet | |
Huckleberry Finn | |
Young Goodman Brown | |
Everyday Use | |
Frankenstein | |
Moral and Philosophical Approaches | |
General Observations | |
Moral and Philosophical Approaches in Practice | |
To His Coy Mistress | |
Hamlet | |
Huckleberry Finn | |
Young Goodman Brown | |
Everyday Use | |
Frankenstein | |
Summary of Key Points | |
Limitations of Traditional Approaches | |
The Formalist Approach | |
The Process of Formalist Analysis: Making the Close Reader | |
A Brief Overview of Formalist Criticism | |
The Course of Half a Century | |
Backgrounds of Formalist Theory | |
The New Criticism | |
Reader-Response Criticism: A Reaction | |
Constants of the Formalist Approach: Some Key Concepts, Terms, and Devices | |
Form and Organic Form | |
Texture, Image, Symbol | |
Fallacies | |
Point of View | |
The Speaker's Voice | |
Tension, Irony, Paradox | |
The Formalist Approach in Practice | |
Word, Image, and Theme: Space-Time Metaphors in To His Coy Mistress | |
The Dark, the Light, and the Pink: Ambiguity as Form in Young Goodman Brown | |
Virtues and Vices | |
Symbol or Allegory? | |
Loss Upon Loss | |
Romance and Reality, Land and River: The Journey as Repetitive Form in Huckleberry Finn | |
Dialectic as Form: The Trap Metaphor in Hamlet | |
The Trap Imagery | |
The Cosmological Trap | |
Seeming and Being | |
Seeing and Knowing | |
Irony and Narrative Voice: A Formalist Approach to Everyday Use | |
Frankenstein: A Thematic Reading | |
Summary of Key Points | |
Limitations of the Formalist Approach | |
Materialisms | |
Marxism | |
British Cultural Materialism | |
New Historicism | |
Ecocriticism | |
Literary Darwinism | |
Materialisms in Practice | |
A New History of To His Coy Mistress | |
Hamlet's Evolution | |
Frankenstein: The Creature as Proletarian | |
The Lore of Fiends: Hawthorne and his Market | |
Fathers and Sons, Gods and Slaves in Huckleberry Finn | |
But they're priceless! Material versus Exchange Value in Everyday Use | |
Summary of Key Points | |
Limitations of Materialist Approaches | |
Literature and Linguistics | |
Structuralism and Post-structuralism, Including Deconstruction | |
Structuralism: Contexts and Definitions | |
The Linguistics Model | |
Russian Formalism: Extending Saussure | |
Structuralism, Levi-Strauss, and Semiotics | |
French Structuralism: Coding and Decoding | |
British and American Interpreters | |
Post-Structuralism, Deconstruction | |
Dialogics | |
Linguistic Approaches in Practice | |
Deconstructing To His Coy Mistress | |
The Deep Structure of Hamlet | |
Language and Discourse in Frankenstein | |
Huck and Jim: Dialogic Partners | |
Speak of the Devil!: The Sermon in Young Goodman Brown | |
Asalamalakim! Linguistic Distortion in Everyday Use | |
Summary of Key Points | |
Limitations of Linguistic Approaches | |
The Psychological Approach: Freud | |
Aims and Principles | |
Abuses and Misunderstandings of the Psychological Approach | |
Freud's Theories | |
Other Theories | |
The Psychological Approach in Practice | |
Hamlet: the Oedipus Complex | |
Rebellion Against the Father in Huckleberry Finn | |
Prometheus Manqué: The Monster Unbound | |
Young Goodman Brown: Id over Superego | |
Sexual Imagery in To His Coy Mistress | |
Morality Principle Over Pleasure Principle in Everyday Use | |
Summary of Key Points | |
Other Possibilities and Limitations of the Psychological Approach | |
Mythological and Archetypal Approaches | |
Definitions and Misconceptions | |
Some Examples of Archetypes | |
Images | |
Archetypal Motifs or Patterns | |
Archetypes as Genres | |
Myth Criticism in Practice | |
Anthropology and Its Uses | |
The Sacrificial Hero: Hamlet | |
Archetypes of Time and Immortality: To His Coy Mistress | |
Jungian Psychology and Its Archetypal Insights | |
Some Special Archetypes: Shadow, Persona, and Anima | |
Young Goodman Brown: A Failure of Individuation | |
Creator or Creator: Who is the Real Monster in Frankenstein? | |
Syntheses of Jung and Anthropology | |
Myth Criticism and the American Dream: Huckleberry Finn as the American Adam | |
Everyday Use: The Great [Grand]Mother | |
Summary of Key Points | |
Limitations of Myth Criticism | |
Feminisms and Gender Studies | |
Feminisms and Feminist Literary Criticism: Definitions | |
First-, Second-, and Third-Wave Feminisms | |
The Literary Woman: Created or Constructed? | |
Feminism and Psychoanalysis | |
Feminists of Color | |
Marxist and Materialist Feminisms | |
Feminist Film Studies | |
Gender Studies | |
Feminisms and Gender Studies in Practice | |
The Marble Vault: The Mistress in To His Coy Mistress | |
Frailty, Thy Name Is Hamlet: Hamlet and Women | |
The Workshop of Filthy Creation: Men and Women in Frankenstein | |
Mary and Percy, Author and Editor | |
Masculinity and Femininity in the Frankenstein Family | |
I Am Thy Creature. . . | |
Men, Women, and the Loss of Faith in Young Goodman Brown | |
Women and Sivilization in Huckleberry Finn | |
In Real Life: Recovering the Feminine Past in Everyday Use | |
Summary of Key Points | |
The Future of Feminist and Gender Studies: Some Problems and Limitations | |
Cultural Studies | |
What Is (or Are) Cultural Studies? | |
United States Ethnic Studies | |
African American Writers | |
Latina/o Writers | |
Native American Literatures | |
Asian American Writers | |
Postmodernism and Popular Culture | |
Postmodernism | |
Popular Culture | |
Cultural Studies in Practice | |
Two Characters in Hamlet: Marginalization with a Vengeance | |
To His Coy Mistress: Implied Culture | |
From Paradise Lost to Frank-N-Furter: The Creature Lives! | |
Revolutionary Births | |
A Race of Devils | |
The Frankenpheme in Popular Culture: Fiction, Drama, Film, Television | |
A Postmodern Goodman Brown | |
Telling the Truth, Mainly: Huck and Twain as Tricksters | |
Cultures in Conflict: A Story Looks at Cultural Change | |
Summary of Key Points | |
Limitations of Cultural Studies | |
Postcolonial Studies | |
Postcolonialism: Definitions | |
Some Key Figures | |
Postcolonial Critical Practices | |
Seventeenth-Century English Colonization and To His Coy Mistress | |
Hamlet: Postcolonial Adaptations | |
Frankenstein: Are There Any New Worlds? | |
Jim's Superstitions in Huckleberry Finn | |
Salem: A City Upon a Hill? | |
The End of an Era: Everyday Use | |
Summary of Key Points | |
Limitations of Postcolonial Studies | |
Epilogue | |
Andrew Marvell, To His Coy Mistress | |
Nathaniel Hawthorne, Young Goodman Brown | |
Alice Walker, Everyday Use | |
Glossary of Literary Terms | |
Bibliography | |
Index | |
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