Illustrations | |
Preface | |
Getting Started: The Precritical Response | |
Setting | |
Plot | |
Character | |
Structure | |
Style | |
Atmosphere | |
Theme | |
First Things First: Texual Scholarship, Genres, And Source Study | |
First, a Note on the Traditional Approaches | |
Three Foundational Questions | |
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 | |
The Formalist Approach | |
Reading a Poem: An Introduction to the Formalist Approach | |
The Process of Formalist Analysis: Making the Close Reader | |
A Brief History of Formalist Criticism | |
The Course of a Half Century | |
Backgrounds of Formalist Theory | |
The New Criticism | |
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 Formalist Reading, with an Emphasis on Exponents | |
Limitations of the Formalist Approach | |
The Psychological Approach: Freud | |
Aims and Principles | |
Abuses and Misunderstandings of the Psychological Approach | |
Freud's Theories | |
The Psychological Approach in Practice | |
Hamlet: The Oedipus Complex | |
Rebellion Against the Father in Huckleberry Finn | |
Prometheus Manque The Monster Unbound | |
""Young Goodman Brown"": Id Versus Superego | |
Death Wish in Poe's Fiction | |
Love and Death in Blake's ""Sick Rose"" | |
Sexual Imagery in ""To His Coy Mistress"" | |
Morality over the Pleasure Principle in ""Everyday Use"" | |
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 | |
Creature 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 | |
Limitations of Myth Criticism | |
Feminisms And Gender Studies | |
Feminisms and Feminist Literary Criticism: Definitions | |
Woman: Created or Constructed? | |
Feminism and Psychoanalysis | |
Multicultural Feminisms | |
Marxist Feminism | |
Feminist Film Studies | |
Gender Studies | |
Feminisms 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"" | |
The Future of Feminist Literary Studies and Gender Studies: Some Problems and Limitations | |
Cultural Studies | |
What Is (or Are) ""Cultural Studies""? | |
Five Types of Cultural Studies | |
British Cultural Materialism | |
New Historicism | |
American Multiculturalism | |
African American Writers | |
Latina/o Writers | |
American Indian Literatures | |
Asian American Writers | |
Postmodernism and Popular Culture | |
Postmodernism | |
Popular Culture | |
Postcolonial Studies | |
Cultural Studies in Practice | |
Two Characters in Hamlet: Marginalization with a Vengeance | |
""To His Coy Mistress"": Implied Culture Versus Historical Fact | |
From Paradise Lost to Frank-N-Furter: The Creature Lives! | |
Revolutionary Births | |
The Frankenpheme in Popular Culture: Fiction, Drama, Film, Television | |
""The Lore of Fiends"": Hawthorne and His Market | |
""Telling the Truth, Mainly"": Tricksterism in Huckleberry Finn | |
Cultures in Conflict: A Story Looks at Cultural Change | |
Limitations of Cultural Studies | |
The Play Of Meaning(S): Reader-Response Criticism, Dialogics, And Structuralism And Poststructuralism, Including Deconstruction | |
Reader-Response Criticism | |
Dialogics | |
Structuralism and Poststructuralism, Including Deconstruction | |
Structuralism: Context and Definition | |
The Linguistic Model | |
Russian Formalism: Extending Saussure | |
Structuralism, Levi Strauss, and Semiotics | |
French Structuralism: Codes and Decoding | |
British and American Interpreters | |
Poststructuralism: Deconstruction | |
Epilogue | |
Andrew Marvell, ""To His Coy Mistress"" | |
Nathaniel Hawthorne, ""Young Goodman Brown"" | |
Alice Walker, ""Everyday Use: for your grandmama"" | |
Index | |
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