Search results
Results From The WOW.Com Content Network
Psychoanalytic literary criticism is literary criticism or literary theory that, in method, concept, or form, is influenced by the tradition of psychoanalysis begun by Sigmund Freud. Psychoanalytic reading has been practiced since the early development of psychoanalysis itself, and has developed into a heterogeneous interpretive tradition.
Psychoanalytic literary criticism is a method of reading and analysing texts through the lens of psychoanalytic principles. [3] It is largely informed by Freudian psychoanalysis, but has since grown into its own field in literary theory, influenced by the work of psychoanalysts such as Carl Jung, Melanie Klein, and Jacques Lacan.
A critical lens is a way of looking at a particular work of literature by focusing on style choices, plot devices, and character interactions and how they show a certain theme (the lens in question). It is a common literary analysis technique.
He explores the reading tactics endorsed by different critical schools, by the literary professoriate, and by the legal profession, introducing the idea of "interpretive communities" that share particular modes of reading. In 1968, Norman Holland drew on psychoanalytic psychology in The Dynamics of Literary Criticism to model the literary work ...
Cognitive poetics is a school of literary criticism that applies the principles of cognitive science, particularly cognitive psychology, to the interpretation of literary texts. It has ties to reader-response criticism, and also has a grounding in modern principles of cognitive linguistics.
Archetypal literary criticism is a type of analytical theory that interprets a text by focusing on recurring myths and archetypes (from the Greek archē, "beginning", and typos, "imprint") in the narrative, symbols, images, and character types in literary works.
In literature, psychological fiction (also psychological realism) is a narrative genre that emphasizes interior characterization and motivation to explore the spiritual, emotional, and mental lives of its characters. The mode of narration examines the reasons for the behaviours of the character, which propel the plot and explain the story. [1]
By the end of the 18th century, psychological and textual criticism had outrun strictly rhetorical criticism; one still sees occasional critiques of metaphors viewed as inappropriate or barbarous, but by and large the neoclassical critique of Shakespeare's language had become moribund.