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The danger is that the serious student may become theory-ridden, forgetting that Freud's is not the only approach to literary criticism. To see a great work of fiction or a great poem primarily as a psychological case study is often to miss its wider significance and perhaps even the essential aesthetic experience it should provide.
The theory of anxiety of influence is a theory applied principally to early nineteenth century romantic poetry. Its author, Harold Bloom, maintains that the theory has general applicability to the study of literary tradition, ranging from Homer and the Bible to Thomas Pynchon and Anne Carson in the 20th and 21st century.
The First Modern Comedies (1959), the first of Holland's major publications, is a New Critical study of the three major writers of Restoration comedy. [8] This publication was followed by The Shakespearean Imagination (1964), [9] a guide to reading Shakespeare's works and Holland's New Critical analyses of thirteen major plays of Shakespeare.
Psychologically, crossed legs or arms signal that a person is mentally, emotionally, and physically blocked off from what's in front of them. It's not intentional, which is why it's so revealing. 2.
Reader-response criticism relates to psychology, both experimental psychology for those attempting to find principles of response, and psychoanalytic psychology for those studying individual responses. Post-behaviorist psychologists of reading and of perception support the idea that it is the
Ivor Armstrong Richards CH (26 February 1893 [1] – 7 September 1979 [1]), known as I. A. Richards, was an English educator, literary critic, poet, and rhetorician.His work contributed to the foundations of New Criticism, a formalist movement in literary theory which emphasized the close reading of a literary text, especially poetry, in an effort to discover how a work of literature functions ...
Although reading aloud to oneself raises eyebrows in many circles, few people find it surprising in the case of poetry. In fact, many poems reveal themselves fully only when they are read aloud. The characteristics of such poems include (but are not limited to) a strong narrative, regular poetic meter, simple content and simple form.
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