Critical Examination of Brooks' The Formalist Critics

Every work of literature – whether long, short, humorous, or frightening – enables all readers to experience a certain set of emotions from the passages within the text; but what do these emotions imply? In How to Read Literature Like a Professor, Thomas C. Foster clarifies that these reactions closely associate with symbolic meanings. He specifies how “every reader’s experience of a work is unique” in order to explain that almost everything stands as a symbol and carries various ideas – depending on the reader’s emotional interpretation (Foster 110). Foster also mentions the concept of intertextuality in which pure originality is impossible, thus resulting with authors influencing one another. Ken Kesey’s One Flew Over the Cuckoo’s Nest stands

Defined as a complete trust in people, faith prevails as an essential quality for the development of interpersonal and personal connections. Accordingly, John Brehm, author of “Sea of Faith,” illustrates a scholar experience in a freshman class. A teacher, which the reader implies as Brehm himself, becomes irritated at the lack of knowledge in his students at such a simple topic: figurative language. Disgruntled at the question he begins to examine the significance behind it. Ultimately, after self-examination, he comes to understand the young lady who posed the question that annoyed him (1000). Through the use of literary devices such as personification, tone, and comparison: the author illustrates the changing perspective and ultimate connection the teacher makes with the students as he realizes the positivity that arises from faith.

The criticism that I will be using is a rhetorical analysis which simply means analyzing texts on how they make the audience feel using symbols, the type of genre, aesthetics and more while also looking at why that happens. I decided to use a rhetorical

The diversity of Brooks’s poetry leaves a reader who first encounters her work to draw, as Bolton argues in Gwendolyn Brooks and the Epic Tradition, “overly hasty conclusions about the natures of her subject and verse form” (56). Brooks’s mastery is found in her extended lyric voice characterized in her various poems. From colloquial language in “We Real Cool” to her tense and complex style in the “Anniad”, Brooks’s audience is just as diverse as her anthology. Hovarth identifies the significance of form in relationship to her

The most significant part of the entire text is that most of the readers will never feel the pain of author. The ability not to be able to relate and understand someone’s struggle is very impactful.

Smith and Bradford use religion as a literary tool to persuade the reader towards their own interests. There are similarities and differences in the motivation to use religion by these two authors, yet the use is still prevalent in their writings. The reasons for these similarities and differences are found in the greater interest of each individual author.

The important thing in the reader response theory is the interpretive of the readers itself, rather than the author or even the text. The theory gives the competence to the reader to critic the text, however with the condition the readers have the evidence or research from other people toward the critic. The way of their interpretation may reveal their identity, because the reader gives the critic depends on their knowledge and experience (Philip Goldstein, 2005). Everyone has their own perspective toward anything, especially for the literary works. Each of people perspective is unique. That is why reader response was created. The theory is about the transaction between the writer and the reader. The writer composed a meaningful text, whereas the reader composed an interpreted meaning of the text. Reader response is not about destroying the writer’s idea, but it is more constructing the work itself (Louise M. Rosenblatt, 1988).

Biographical criticism is used to identify and establish certain aspects of stories from an author’s experience. Most authors have demonstrated this theory by writing from their own personal memories. From Emily Dickinson to Stephen King, countless authors have either written from their own background or put him/herself into a story. Some have even re-written a terrible memory into the way they wanted that moment to turn out. John Updike and T.C. Boyle brought this theory to life in their works “A&P” and “Greasy Lake”. By reading these stories, one can feel a personal connection to them because they feel so profoundly relatable. Therefore, in “A&P” and “Greasy Lake”, one can grasp the actuality of the stories by putting themselves in the author’s shoes and remembering their youth.

While doing some research on psychological criticism, I found that Arnold Friend in Where Are You Going, Where Have You Been by Joyce Carol Oates and notorious murderer Charles Schmid of The Pied Piper of Tucson by Don Moser have characteristics of being a psychopath, motive for killing, similar comparisons of innocence taken by an evil mind, and how Oates wrote her story based upon Schmid’s personality. Psychological criticism as explained in Retellings by M.B. Clarke and A.G. Clarke states “psychological criticism looks at internal influences on an author’s creation and our reception of it…whether the words and images can be read symbolically” (Clarke A-46). Throughout the paper, I will be addressing the psychological criticism of the schools of literary criticism from Retellings. I will be introducing a fictional character and a non-fictional character, a long with their characteristics, comparisons between Oates character with Moser’s, and ideology based upon the non-fictional character.

This literary criticism is useful because it illustrates how the arts are connected, in this case, writing and painting. The arts are fluid and can translate between different mediums. The story is considered modern, but the painting is a classic. The character of Sammy is also meant to be relatable, even to future generations. The essay is well researched and soundly written; it is a good example of what a published literary criticism should look like.

Knowing about the writer of a literary text can shape significantly the way that it is read. Consider the effect of the writer’s context on your understanding of The Lost Honour of Katharina Blum.

In “An Introduction to Literature, Criticism and Theory” Bennett and Royle, explore topics such as subjectivity and ideology. In the Chapters “Me” and Ideology”, Bennett and Royle are able to define the terms as well as suggest how they are interrelated or interconnected. Bennett and Royle contend that literature replicates structures of ideology while encouraging subjects to question personal idenitity. They believe “subjects – people – make their own ideology at the same time as ideology makes them subjects” (Bennett and Royle 202). Stevens exemplifies Bennett and Royles contentions by building his ideologies around his profession as a bulter at the risk of losing himself to the subjection of his ideologies in which he can never be alone and cannot exist without his profession or the justications of his profession.

One of the potential weaknesses for Narrative criticism is a little concern for authorial intention. It is clear that, someone who engaged in narrative criticism approach and cannot emphasize the plot, the character, and lose the historical background or the historical reference of the text. In addition, in narrative criticism approach there is a high tendency to look scripture as any other literature and fiction, because they used a methodology of the same kind.

Modernism, in literature, can be seen as a shift in focus to the unassociated introspective reflection of characters in such texts as Go Tell It On The Mountain, by James Baldwin, Miss Lonelyhearts, by Nathanael West and The Catcher in the Rye, by J.D. Salinger. This is a revision from the previous focal point of exterior events and places in correlation with the character’s reflections. Emphasis is placed on review upon feelings and thoughts, and even conversations with oneself, as opposed to the more directly event-driven reflections in texts of the pre-modernist era.

Any literary work is unique. It is created by the author in accordance with his vision and is permeated with his idea of the world. The reader’s interpretation is also highly individual and depends to a great extent on his knowledge and personal experience. That’s why one cannot lay down a fixed “model” for a piece of critical appreciation. Nevertheless, one can give information and suggestions that may prove helpful.