Preface | p. xiii |
An Introduction, Theoretically | p. 3 |
Textual Tours | p. 3 |
Checking Some Baggage | p. 5 |
"Is there one correct interpretation of a literary work?" | p. 6 |
"So, are all opinions about literature equally valid?" | p. 6 |
Anything to Declare? | p. 9 |
Theory enables practice | p. 9 |
You already have a theoretical stance | p. 10 |
This is an introduction | p. 11 |
Here's the plan | p. 11 |
Recommended Further Reading | p. 12 |
Critical Worlds: A Selective Tour | p. 15 |
Brendan Gill, from Here at "The New Yorker" | p. 16 |
New Criticism | p. 17 |
Reader-Response Criticism | p. 19 |
Structuralist and Deconstructive Criticism | p. 22 |
Historical, Postcolonial, and Cultural Studies | p. 24 |
Psychological Criticism | p. 29 |
Political Criticism | p. 31 |
Other Approaches | p. 34 |
Works Cited | p. 35 |
Recommended Further Reading | p. 35 |
Unifying the Work: New Criticism | p. 37 |
The Purpose of New Criticism | p. 37 |
Basic Principles Reflected | p. 38 |
Archibald MacLeish, Ars Poetica | p. 38 |
Radicals in Tweed Jackets | p. 42 |
How to Do New Criticism | p. 45 |
Film and Other Genres | p. 47 |
The Writing Process: A Sample Essay | p. 49 |
Gwendolyn Brooks, The Mother | p. 49 |
Preparing to Write | p. 50 |
Shaping | p. 52 |
Drafting | p. 53 |
Practicing New Criticism | p. 55 |
Lucille Clifton, forgiving my father | p. 55 |
Questions | p. 56 |
Stephen Shu-ning Liu, My Father's Martial Art | p. 56 |
Questions | p. 57 |
Ben Jonson, On My First Son | p. 57 |
Questions | p. 58 |
The Parable of the Prodigal Son | p. 58 |
Questions | p. 60 |
Useful Terms for New Criticism | p. 60 |
Checklist for New Criticism | p. 61 |
Works Cited | p. 62 |
Recommended Further Reading | p. 62 |
Creating the Text: Reader-Response Criticism | p. 65 |
The Purpose of Reader-Response Criticism | p. 65 |
New Criticism as the Old Criticism | p. 65 |
The Reader Emerges | p. 66 |
Hypertextual Readers | p. 70 |
How to Do Reader-Response Criticism | p. 71 |
Preparing to Respond | p. 71 |
Sandra Cisneros, Love Poem #1 | p. 71 |
Making Sense | p. 72 |
Subjective Response | p. 73 |
Receptive Response | p. 75 |
The Writing Process: A Sample Essay | p. 80 |
Preparing to Respond | p. 80 |
Ernest Hemingway, A Very Short Story | p. 81 |
Preparing to Write | p. 85 |
Shaping | p. 88 |
Drafting | p. 88 |
Practicing Reader-Response Criticism | p. 91 |
Michael Drayton, Since There's No Help | p. 91 |
Questions | p. 92 |
Judith Minty, Killing the Bear | p. 92 |
Questions | p. 96 |
Caroline Fraser, All Bears | p. 97 |
Questions | p. 98 |
Emily Dickinson, Through the Dark Sod | p. 98 |
Questions | p. 98 |
Useful Terms for Reader-Response Criticism | p. 99 |
Checklist: Using Reader-Response Criticism | p. 99 |
Works Cited | p. 100 |
Recommended Further Reading | p. 100 |
Opening Up the Text: Structuralism and Deconstruction | p. 103 |
The Purposes of Structuralism and Deconstruction | p. 103 |
Structuralism and Semiotics | p. 104 |
Post-structuralism and Deconstruction | p. 105 |
How to Do Structuralism and Deconstruction | p. 111 |
William Butler Yeats, Sailing to Byzantium | p. 111 |
The Writing Process: A Sample Essay | p. 117 |
Amy Clampitt, Discovery | p. 117 |
Preparing to Write | p. 118 |
Shaping | p. 123 |
Drafting | p. 125 |
Practicing Structuralist and Deconstructive Criticism | p. 129 |
Questions | p. 129 |
William Blake, London | p. 129 |
Cut through the anxiety, the unknown, the hassle à | p. 130 |
Questions | p. 131 |
Linda Pastan, Ethics | p. 132 |
Questions | p. 133 |
John Donne, Death Be Not Proud | p. 133 |
Questions | p. 134 |
Useful Terms for Deconstruction | p. 134 |
Checklist for Deconstruction | p. 136 |
Works Cited | p. 136 |
Recommended Further Reading | p. 136 |
Connecting the Text: Varieties of Historical Criticism | p. 139 |
The Purposes of Biographical, Historical, Postcolonial, Ethnic, Marxist, and Cultural Studies | p. 139 |
Biographical and Historical Criticism | p. 140 |
John Milton, When I Consider How My Light Is Spent | p. 140 |
Cultural Studies | p. 144 |
New Historicism | p. 147 |
History as Text | p. 148 |
Marxist Criticism | p. 150 |
Postcolonial and Ethnic Studies | p. 155 |
How to Do Historical Criticism | p. 158 |
The Writing Process: Sample Essays | p. 160 |
John Cheever, Reunion | p. 160 |
A Biographical Essay | p. 163 |
Preparing to Write | p. 163 |
Shaping | p. 167 |
Drafting | p. 170 |
A New Historical Essay | p. 173 |
Preparing to Write | p. 173 |
Shaping | p. 174 |
Drafting | p. 175 |
Practicing Historical Criticism | p. 178 |
Useful Terms for Historical, Cultural, and Postcolonial Criticism | p. 179 |
Checklist for Historical Criticism | p. 185 |
Works Cited | p. 185 |
Recommended Further Reading | p. 186 |
Minding the Work: Psychological Criticism | p. 191 |
The Purpose of Psychological Criticism | p. 191 |
How to Do Psychological Criticism | p. 196 |
William Wordsworth, A Slumber Did My Spirit Seal | p. 197 |
The Writing Process: A Sample Essay | p. 200 |
William Shakespeare, Hamlet 4.4.32-66 | p. 201 |
Preparing to Write | p. 202 |
Shaping | p. 205 |
Drafting | p. 206 |
Practicing Psychological Criticism | p. 211 |
Emily Dickinson, A Narrow Fellow in the Grass | p. 211 |
Questions | p. 212 |
Marianne Moore, O to Be a Dragon | p. 212 |
Questions | p. 213 |
Matthew Arnold, Dover Beach | p. 213 |
Question | p. 214 |
Your Dream Here | p. 214 |
Useful Terms for Psychological Criticism | p. 214 |
Checklist for Psychological Criticism | p. 215 |
Works Cited | p. 215 |
Recommended Further Reading | p. 216 |
Gendering the Text: Feminist Criticism, Postfeminism, and Queer Theory | p. 219 |
How to Do Feminist Criticism, Postfeminism, and Queer Theory | p. 226 |
Mary Astell, from A Serious Proposal | p. 229 |
The Writing Process: A Sample Essay | p. 234 |
Samuel Johnson, To Miss _____ On Her Playing upon the Harpsichord à | p. 235 |
Preparing to Respond | p. 236 |
Shaping | p. 237 |
Drafting | p. 239 |
Revision: Gay and Lesbian Criticism | p. 241 |
Practicing Feminist, Postfeminist, and Queer Theory Criticism | p. 243 |
William Shakespeare, Shall I Compare Thee to a Summer's Day? | p. 243 |
Questions | p. 244 |
Emily Dickinson, My Life had stood-a Loaded Gun | p. 244 |
Questions | p. 245 |
Tobias Wolff, Say Yes | p. 245 |
Questions | p. 249 |
Gender in the Movies | p. 249 |
Useful Terms for Political Criticism | p. 250 |
Checklist for Political Criticism | p. 251 |
Works Cited | p. 252 |
Recommended Further Reading | p. 253 |
Appendix 1 | p. 254 |
The Canonization | p. 254 |
Appendix 2 | p. 256 |
A Note on How Theories Relate | p. 256 |
Credits | p. 260 |
Index | p. 262 |
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