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ENGLISH FOR ACADEMIC AND
PROFESSIONAL PURPOSES Approaches in Literary Criticism Objective Assessment Approaches in Literary Criticism 1. Formalist Criticism
• - This approach regards literature as “a
unique form of human knowledge that needs to be examined on its own terms.” All the elements necessary for understanding the work are contained within the work itself. Of particular interest to the formalist critic are the elements of form—style, structure, tone, imagery, etc.— that are found within the text. A primary goal for formalist critics is to determine how such elements work together with the text’s content to shape its effects upon readers. 2. Gender Criticism
• - This approach “examines how sexual identity influences the
creation and reception of literary works.” Originally an offshoot of feminist movements, gender criticism today includes a number of approaches, including the so-called “masculinist” approach recently advocated by poet Robert Bly. The bulk of gender criticism, however, is feminist and takes as a central precept that the patriarchal attitudes that have dominated western thought have resulted, consciously or unconsciously, in literature “full of unexamined ‘male-produced’ assumptions.” Feminist criticism attempts to correct this imbalance by analyzing and combatting such attitudes—by questioning, for example, why none of the characters in Shakespeare’s play Othello ever challenge the right of a husband to murder a wife accused of adultery. Other goals of feminist critics include “analyzing how sexual identity influences the reader of a text” and “examining how the images of men and women in imaginative literature reflect or reject the social forces that have historically kept the sexes from achieving total equality.” 3. Historical Criticism
• - This approach “seeks to
understand a literary work by investigating the social, cultural, and intellectual context that produced it—a context that necessarily includes the artist’s biography and milieu.” A key goal for historical critics is to understand the effect of a literary work upon its original readers. 4. Reader-Response Criticism
• - This approach takes as a
fundamental tenet that “literature” exists not as an artifact upon a printed page but as a transaction between the physical text and the mind of a reader. It attempts “to describe what happens in the reader’s mind wh 5. Media Criticism
• - It is the act of closely examining and
judging the media. When we examine the media and various media stories, we often find instances of media bias. Media bias is the perception that the media is reporting the news in a partial or prejudiced manner. Media bias occurs when the media seems to push a specific viewpoint, rather than reporting the news objectively. Keep in mind that media bias also occurs when the media seems to ignore an important aspect of the story. This is the case in the news story about the puppies. 6. Marxist Criticism
• - It focuses on the economic and political
elements of art, often emphasizing the ideological content of literature; because Marxist criticism often argues that all art is political, either challenging or endorsing (by silence) the status quo, it is frequently evaluative and judgmental, a tendency that “can lead to reductive judgment, as when Soviet critics rated Jack London better than William Faulkner, Ernest Hemingway, Edith Wharton, and Henry James, because he illustrated the principles of class struggle more clearly.” Nonetheless, Marxist criticism “can illuminate political and economic dimensions of literature other approaches overlook.” 7. Structuralism
• - It focused on how human behavior is
determined by social, cultural and psychological structures. It tended to offer a single unified approach to human life that would embrace all disciplines. The essence of structuralism is the belief that “things cannot be understood in isolation, they have to be seen in the context of larger structures which contain them. For example, the structuralist analysis of Donne’s poem, Good Morrow, demands more focus on the relevant genre, the concept of courtly love, rather than on the close reading of the formal elements of the text.