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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.
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 .
Reader-response criticism is a school of literary theory that focuses on the reader (or "audience") and their experience of a literary work, in contrast to other schools and theories that focus attention primarily on the author, content, or form of the work.
While many sources use the terms stream of consciousness and interior monologue as synonyms, the Oxford Dictionary of Literary Terms suggests that "they can also be distinguished psychologically and literarily. In a psychological sense, stream of consciousness is the subject matter, while interior monologue is the technique for presenting it".
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.
The word "radical" derives from the Latin word "radix" ("root"). Thus, radical criticism means criticism that goes to the root of things, to the roots of the problem. Revolutionary criticism is criticism that aims to overturn or overthrow an existing idea or state of affairs. Thus, an existing idea may be turned upside down.
Amy Maud Bodkin (1875 in Chelmsford, Essex – 1967 in Hatfield, Hertfordshire) was an English classical scholar, writer on mythology, and literary critic.She is best known for her 1934 book Archetypal Patterns in Poetry: Psychological Studies of Imagination (London: Oxford University Press).
The concept of affective fallacy is an answer to the idea of impressionistic criticism, which argues that the reader's response to a poem is the ultimate indication of its value. It is the antithesis of affective criticism, which is the practice of evaluating the effect that a literary work has on its reader or audience.