Literature, Literary Criticism, Literary Approach ppt by Yvette P. Rejuso.pdf

PPT is created by Yvette P. Rejuso. What is Literature? Literary Standards and Literary Approaches

1. What is

2. YVETTE REJUSO
Prepared by:

3. Latin word
acquaintance with letters

4. A body of literary
productions, either oral,
written or visual, containing
imaginative language that
realistically portrays thoughts,
emotions, and experiences of
the human condition.

5. It is a product of a
particular culture that
concretizes man’s array
of values, emotions,
actions, and ideas. It is
therefore a creation of
human experience that
tells about people and
their world.

10. “I am not afraid of
storms, for I am
learning how to
sail my ship.”

12. The Raven
BY EDGAR ALLAN POE
Once upon a midnight dreary,
while I pondered, weak and
weary,
Over many a quaint and curious
volume of forgotten lore—
While I nodded, nearly
napping, suddenly there came a
tapping,
As of some one gently rapping,
rapping at my chamber door.
“’Tis some visitor,” I muttered,
“tapping at my chamber door—
Only this and nothing
more.”
A Red, Red Rose
BY ROBERT BURNS
O my Luve’s like a red, red rose,
That’s newly sprung in June;
O my Luve’s like the melodie
That’s sweetly play’d in tune.
As fair are thou, my bonie lass,
So deep in luve am I;
And I will luve thee still, my Dear,
Till a’ the seas gang dry.
Till a’ the seas gang dry, my
Dear,
And the rocks melt wi’ the sun:
I will luve thee still, my dear,
While the sands o’ life shall run.

15. ‘She was brought here last
night,’replied the old woman, ‘by
the overseer’s order. She was
found lying in the street. She had
walked some distance, for her
shoes were worn to pieces; but
where she came from, or where
she was going
to, nobody knows.’
(Oliver Twist, p.4)

16. Noli Me Tangere

19. Literature elevates the spirit and the soul
and thus has the power to motivate and
inspire, drawn from the suggested morals
or lessons of the different literary
genres.

20. The parable of Ten Bridesmaid

26. FICTIONDRAMA POETRY

28. New

29. New criticism suggests that the text is a self-contained entity,
and that everything that the reader needs to know to
understand it is already in the text. New critics totally discount
the importance of historical context, authorial intent, effects on
the reader, and social contexts, choosing to focus instead on
the layers in the next. This school of criticism works with the
elements of a text only – irony, paradox, metaphor, symbol,
plot, and so on – by engaging in extremely close textual
analysis.

30. Ars Poetica
BYARCHIBALD MACLEISH
A poem should be palpable and mute
As a globed fruit,
Dumb
As old medallions to the thumb,
Silent as the sleeve-worn stone
Of casement ledges where the moss has grown—
A poem should be wordless
As the flight of birds.
A poem should be motionless in time
As the moon climbs,
Leaving, as the moon releases
Twig by twig the night-entangled trees,

31. New

32. New historicists attempt to describe the culture of a period by
reading many different types of texts and paying attention to many
different dimensions of a culture, including political, social,
economic, and aesthetic concerns. They regard texts as not simply
a reflection of the culture that produced them but also as
productive of that culture by playing an active role in the social
and political conflicts of an age. New historicism acknowledges
and then explores various versions of “history,” sensitizing us to
the fact that the history on which we choose to focus is colored by
being reconstructed by our present
perspective.

33. “Textuality of
History and
Historicity of
Texts”

34. Theory

35. Marxist critics insist that all use
of language is influenced by
social class and economics. It
directs attention to the idea that
all language makes ideological
statements about things like
class, economics, race, and
power, and the function of
literary output is to either support
or criticize the political and
economic structures in place. S

36. Approach

37. This form of approach places literature
in a social context and employs a
broad range of disciplines, such as
history, psychology, sociology, and
linguistics, to create a perspective that
considers feminist issues. Feminist
theories also attempt to understand
representation from a woman’s point of
view and analyze women’s writing
strategies in the
context of their social conditions.

38. Approach

39. Uses psychoanalytic theories, especially those of Freud and
Jacques Lacan, to understand more fully the text, the reader,
and the writer. The basis of this approach is the idea of the
existence of a human consciousness – those impulses, desires,
and feelings about which a person is unaware but which
influence emotions or behavior. Critics use psychological
approaches to explore the motivations of characters and the
symbolic meanings of events, while biographers speculate
about a writer’s own motivations – conscious or unconscious –
in a literary work.

40. Approach

41. “Archetype" signifies narrative designs, character
types, or images that are said to be identifiable in a
wide variety of works of literature, as well as in myths,
dreams, and even ritualized modes of social
behavior. The archetypal similarities within these
diverse phenomena are held to reflect a set of
universal, primitive, and elemental patterns, whose
effective embodiment in a literary work evokes a
profound response from the reader.

42. Check out these examples of archetypes that you’re likely to see in
adventure stories, romance novels, suspenseful movies, and epic
narratives.
The Bully - Intimidates others
The Creature of Nightmare - Threatens the hero's life
The Damsel in Distress - The hero rescues her
The Devil Figure - Tempts the hero
Dreamer - Wants to be something else
The Evil Genius - Seeks revenge and hates all
Friendly Beast - Assists the hero
The Hero - Main character who may fulfill a task or bring justice
Survivor - Never gives up and always pulls through
The Temptress - A beautiful woman who seduces the hero
Tyrant - Wants to be in charge
Wizard - Has special powers