Literary approaches

Literature

1. Literary Approaches

2. Cultural Approach Considers literature as one of the principal manifestation and vehicles of a nation’s or race’s culture and tradition. It includes the entire complex of what goes under “culture” - the technological, the artistic, the sociological, the ideological aspects, and considers the literary piece in the total culture milieu in which it was born.

3. This approach in one of the richest way to arrive at the culture of the people and one of the most pleasurable ways of appreciating the literature of the people. It goes by the dictum “culture teaching through literature”.

4. Also called “PURE” or “LITERARY” approach The selection is read and viewed intrinsically, or for itself ; independent of author, age, or any other extrinsic factor. This approach is close to the “ art for art’s sake” dictum The study of the selection is more is more or less based on the so – called literary elements which is more or less boil down to the literal level, the affective values, the ideational values, technical values, and total effects. FORMALISTIC / LITERARY APPROACH

5. The literal level (subject matter) The affective values (emotional, mood, atmosphere, tone attitudes , empathy) The ideational values (themes, visions, universal truths, character) Technical Values (plot, structure, scene, language, point of view , imagery, figure, metrics, etc.) Total Effect (the interrelation of the foregoing elements)

6. The nature of man is CENTRAL to literature. The reader or teacher or critic more or less “requires” that the piece present MAN AS ESSENTIALY RATIONAL, that is endowed with intellect and free will; or that the piece does not misinterpret the true nature of man MORAL AND HUMANISTIC APPROACH

7. In these times of course the TRUE NATURE OF MAN is hotly contested, making literature all the more challenging. This approach is close to the “MORALITY” of literature, to the questions of ethical goodness and badness

8. Sees literature as both a reflection and product of the times and circumstances in which it is written. Man as a member of a particular society or nation at a particular time, is central to the approach and whenever a teacher gives historical or biographical backgrounds in introducing a selection, or arranges a literature course in chronological order, he is hewing close to this approach. HISTORICAL APPROACH

9. Literature is viewed to elucidate “reacting- response” which is considered as something very personal, relative and fruitful. Unconditioned by explanations and often taking the impact of the piece as a whole, it seeks to see how the piece has communicated. IMPRESSIONISTIC APPROACH

10. Set in dizzying motion, principally, by FREUD, perhaps beyond his wildest expectations, it considers literature as the EXPRESSION OF PERSONALITY of “Inner Drives” of neurosis. It includes the psychology of the author, of the character, and even the psychology of creation. It has resulted in an almost exhausting and exhaustive “psychological analysis” of the characters of symbols and images, of recurrent themes, etc. PSYCHOLOGICAL APPROACH

11. Literature is viewed as the expression of man within a given social situation which is reduced to discussions on economic, in which men are somewhat simplistically divided into haves and haves not, thus passing into the “proletarian approach” hitch tends to underscore the conflict between the two classes. The sociological approach stresses on social “relevance”, social “commitment,” contemporaneity, and it deems communication with the reader important. SOCIOLOGICAL APPROACH

12. Cultural – an approach in knowing the culture of the people and one of the pleasurable ways of appreciating the literature of the people . Formalistic – based on the literary elements Moral / Humanistic – close to the morality of literature , to questions of ethical goodness and badness. Conclusion

13. Historical – sees literature as both a reflection and a product of the times and circumstances in which it is written. Impressionistic Approach - seek to capture a feeling or experience rather than to depict accurate depiction and perfection. Psychological – considers literature as the expression of “personality”, of “inner drive” of neurosis. Sociological - analyzes both how the social functions in literature and how literature works in society.

14. Critical Approaches

15. It views literature as a reflection of an author’s life and time or of the characters’ life and times It is necessary to know about the author and the political, economical, and sociological context of his times in order to truly understand his works. BIOGRAPHICAL CRITICISM

16. FEMINISM CRITICISM Literature may be interpreted as a battle of the sexes or a reaction or result of oppressive patriarchy. Concerned with the impact of gender on writing and reading. Usually begins with a critique of patriarchal culture. Concerned with the place of female writers. Concerned with the roles of female characters within works.

17. READER-RESPONSE CRITICISM Literature may be judged according to how the reader perceives it instead of what the author intends. The text itself has no meaning until it is read by a reader. The reader creates the meaning. Analyzes the reader's role in the production of meaning makes someone's reading a function of personal identity . Recognizes that different people view works differently and that people's interpretations change over time.

18. DECONSTRUCTIONIST CRITICISM Texts must be read many times to be able to get the real meaning of a text. The texts can have multiple meaning . Readers can have their own interpretation. Real meaning conceals in the texts . Texts can be reinterpreted many times. Decoding of texts can be a difficult task to do.

19. MYTHOLOGICAL CRITICISM   Mythological critics explore the universal patterns underlying a literary work. This type of criticism draws on the insights of anthropology, history, psychology, and comparative religion to explore how a text uses myths and symbols drawn from different cultures and epochs. A central concept in mythological criticism is the archetype, a symbol, character, situation, or image that evokes a deep universal response

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