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In literature and other artistic media, a mode is an unspecific critical term usually designating a broad but identifiable kind of literary method, mood, or manner that is not tied exclusively to a particular form or genre. Examples are the satiric mode, the ironic, the comic, the pastoral, and the didactic. [1]
Examples are the satiric mode, the ironic, the comic, the pastoral, and the didactic. [2] Frederick Crews uses the term to mean a type of essay and categorizes essays as falling into four types, corresponding to four basic functions of prose: narration, or telling; description, or picturing; exposition, or explaining; and argument, or ...
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]
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.
One: a mode is something that can be socially or culturally shaped to give something meaning. Images, pieces of writing, and speech patterns are all examples of modes. [6] Two: modes are semiotic, shaped by intrinsic characteristics and their potential within their medium, as well as what is required of them by their culture or society. [7]
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 ...
The key thesis of the book: "However many characters may appear in a story, its real concern is with just one: its hero. It is the one whose fate we identify with, as we see them gradually developing towards that state of self-realization which marks the end of the story.
Freud first introduced the concept of identification in his 1921 book Group Psychology and the Analysis of the Ego, where he referred to it as “the original form of emotional tie with an object”. [1] He initially detected the occurrence of identification whilst analysising his patient's dreams for therapeutic purposes. [2]