As Humpty Dumpty says, in order to find the meaning behind words you must decide who is to be master. Schools of literary criticism identify different "masters of meaning."
Reader-Response Criticism
The reader is the master of meaning
"The meaning of the text interacts with my personal experience."
My gut reaction to the work is...
Historical/Biographical Criticism
The author and authorial context are masters of meaning
"This text means whatever I (the author) intended it to mean, in the context of my times and my original audience."
Our knowledge of the author and his times/audience compels us to see...
Feminist Criticism
The context of gender is the master of meaning
"Gender is universal to the human experience, and it is high time we focus on the feminine as we have heretofore focused on the masculine."
The representation of gender in this work reveals that...
Freudian/Psychological Criticism
The context of the human mind is the master of meaning
"The human mind is the source of all meaning, and we must analyze its conscious thought as well as its subconscious thought, for instance, dreams."
The subconscious messages in this work which must be brought to light are...
Marxist Criticism
The context of economic politics is the master of meaning
"The power to get the stuff we need and want -- that's what shapes the human experience, and literature ultimately reveals the dynamics of class power struggles."
The representation of class in this work reveals that...
Archetypal Criticism
The context of human universals are the master of meaning
"All literature is a reflection of universal human impulses, and therefore we most earnestly seek to identify the presence of archetypes."
The archetypes present in the work comment on the universal human condition in that...
Theological/Biblical Criticism
The context of God, particularly the Biblical God, is the master of meaning
"All truth is God's truth, and the center of his truth is the need of redemption for a sinful world."
This work reflects the reality of sin and the need for redemption in that...
Deconstruction
There is no context for absolute meaning
"Since there is no such thing as absolute meaning, this work, at some level, can be rendered meaningless."
Elements of this text which are contradictory include ... and therefore cancel out an absolute meaning for the text as a whole.
Formal/New Criticism (Close Reading)
The text alone is the master of meaning
"I (the text) am complete and unified. Look closely and discover my meaning."
The text is characterized and/or unified by...
Close reading is the type of analysis you do on an A.P. timed write or in a Schaffer-format style analysis. Cleanth Brooks was the central figure in New Criticism (it was once considered "new," as opposed to traditional historical criticism). It grew out of a need to teach students about poetry, that a poem's format and content cannot be separated. To paraphrase a poem is to rob it of its character and meaning. We must closely analyze every concrete detail of the poem in order to seize upon that meaning. All the subtleties of word choice, irony, paradox, and ambiguity merge within the poem -- they come together in a complete and unified manner which is unique to the poem. Close readings therefore depend on staying strictly and concretely in the text, drawing all the technical elements of the poem together until you unlock the unified essence of the work.
Friday, August 29, 2008
Wednesday, August 27, 2008
Worldview Analysis Timeline
PRE-MODERN
Pre-and Ancient history
"It is what it is, 'cause I can see it... and grandpa told me so!"
Early pagan cultures, mythologies, polytheists
Later on the time line: neopaganism, Wicca, occult
Once culture stabilizes enough, philosophy can emerge... people start to question all the old ways of thinking and postulate new, intellectual ideas. For Western culture, we look to the first millennium B.C. The Golden Age Greeks -- featuring some of the world's most revolutionary philosophers -- who made the transition from polytheism to a wide variety of worldviews, all grounded in rational inquiry.
MODERN
Classical history, Renaissance, Enlightenment
"Truth is rational. We must analyze it. There is a right answer."
Classical Greece and Rome, rationalism, humanism, science
Romanticism, socialism, communism, utilitarianism
Eventually, when people realize that rational philosophy has not brought all the right answers, culture begins to (again) dismiss old ways of thinking, even to the point of dismissing "truth." In Western culture, we look to the 19th Century. Utilitarianism is a transition of sorts, as pain and pleasure are viewed as the only intrinsic values, and therfore the ends justify the means. Romanticism can also be viewed as transitional, as it dismisses a purely rational assessment of truth, relying on subjective perceptions and feelings.
POST-MODERN
Late 19th Century and contemporary
"There is no absolute truth."
Nihilism, existentialism
Pre-and Ancient history
"It is what it is, 'cause I can see it... and grandpa told me so!"
Early pagan cultures, mythologies, polytheists
Later on the time line: neopaganism, Wicca, occult
Once culture stabilizes enough, philosophy can emerge... people start to question all the old ways of thinking and postulate new, intellectual ideas. For Western culture, we look to the first millennium B.C. The Golden Age Greeks -- featuring some of the world's most revolutionary philosophers -- who made the transition from polytheism to a wide variety of worldviews, all grounded in rational inquiry.
MODERN
Classical history, Renaissance, Enlightenment
"Truth is rational. We must analyze it. There is a right answer."
Classical Greece and Rome, rationalism, humanism, science
Romanticism, socialism, communism, utilitarianism
Eventually, when people realize that rational philosophy has not brought all the right answers, culture begins to (again) dismiss old ways of thinking, even to the point of dismissing "truth." In Western culture, we look to the 19th Century. Utilitarianism is a transition of sorts, as pain and pleasure are viewed as the only intrinsic values, and therfore the ends justify the means. Romanticism can also be viewed as transitional, as it dismisses a purely rational assessment of truth, relying on subjective perceptions and feelings.
POST-MODERN
Late 19th Century and contemporary
"There is no absolute truth."
Nihilism, existentialism
Worldview Analysis
1) GOD & THE UNIVERSE What power is in control of the universe? Was it created? Is it governed by chance/coincidence, human choice/determinism, fate/providence, gods/God, chaos/absurdity...?
2) HUMANITY & IDENTITY What is the nature of a human being? Are we material, spiritual, or dual? How much power do we have over our own universe? Are we innocent or guilty at birth?
3) CONFLICT & SUFFERING What is the nature and starting point of human conflict? Why is the universe flawed? What are the flaws?
4) HOPE & REDEMPTION What is the answer to the human struggle? How are we doing? Where do we find our hope for tomorrow?
5) VALUES How does one find value in life? What personal, relational, and public values can be identified for living well? What is good and what is bad? What do we prize and what do we fear?
6) TRUTH & REALITY What is true? What is real? Is there absolute truth? How do you know? Can you articulate it? Are your words reliable?
Christian: God as sovereign creator and trinity; humans made in his image but fallen into sin; suffering arising from man's attempt to be his own god (Lucifer's lie, the Fall); all hope is found in the death and resurrection of Jesus; values of peace, joy, hope, faith, and the "greatest of these is love"; truth revealed in creation and through God's inspired Word.
Secular Humanist: No God, material universe; humans are highly evolved animals; conflict arises in quest to survive; hope in being "fit" to survive and progress/evolve; values of survival for the individual and the herd; truth is material and scientifically verifiable.
Cosmic Humanist: God, if It exists, is a cosmic force; the universe and its inhabitants are spiritual,interconnected and evolving; suffering comes from disconnection and stagnance; hope is in spiritual awareness, community, progress; values of open-mindedness, confidence, charity; spiritual truth looks different to different people and its expression is subjective.
Muslim: God as One soverign creator (no trinity); humans are created for submission; conflict arises within the absence of submission; hope is in the grace of Allah, for those who submit; values identified in the Five Pillars, including obedience and charity; truth revealed in creation and through Muhammed in the Koran.
Pre-Modern: Spirits and gods control the world; humans intermingle with gods and spirits; suffering comes from displeasing the gods/spirits; hope is in earthly glory and sometimes glory in the afterlife; values are in obedience to tradition and ritual; truth is revealed by the gods/spirits.
Post-Modern: Who knows if there's a God? Humans exist; suffering comes from not knowing who you are or what to believe; hope can come in making a leap to identity and faith, or just giving up and laughing at it all; value anything that makes you feel better; truth isn't knowable or expressable, and words are stabs in the dark.
(Modern = secular humanist, cosmic humanist, theological humanist)
REMINDERS:
* Don't analyze the worldview of a particular character or even the society or the setting. Look for the speaker's tone towards these elements and analyze the universe in which the characters, society, and setting exist.
* Don't push a God symbol into a story where it was not intended. Rarely does God appear in stories as a character or symbol. Analyze the worldview fully using the 6 categories of thought and then ask yourself if you still see any God symbolism or allegory. In fact, save interpretation of all symbols, metaphors, and imagery until the end of your process.
* If you get stuck, learn a little about the author. An author's personal worldview will shape his fictional universe 99% of the time.
2) HUMANITY & IDENTITY What is the nature of a human being? Are we material, spiritual, or dual? How much power do we have over our own universe? Are we innocent or guilty at birth?
3) CONFLICT & SUFFERING What is the nature and starting point of human conflict? Why is the universe flawed? What are the flaws?
4) HOPE & REDEMPTION What is the answer to the human struggle? How are we doing? Where do we find our hope for tomorrow?
5) VALUES How does one find value in life? What personal, relational, and public values can be identified for living well? What is good and what is bad? What do we prize and what do we fear?
6) TRUTH & REALITY What is true? What is real? Is there absolute truth? How do you know? Can you articulate it? Are your words reliable?
Christian: God as sovereign creator and trinity; humans made in his image but fallen into sin; suffering arising from man's attempt to be his own god (Lucifer's lie, the Fall); all hope is found in the death and resurrection of Jesus; values of peace, joy, hope, faith, and the "greatest of these is love"; truth revealed in creation and through God's inspired Word.
Secular Humanist: No God, material universe; humans are highly evolved animals; conflict arises in quest to survive; hope in being "fit" to survive and progress/evolve; values of survival for the individual and the herd; truth is material and scientifically verifiable.
Cosmic Humanist: God, if It exists, is a cosmic force; the universe and its inhabitants are spiritual,interconnected and evolving; suffering comes from disconnection and stagnance; hope is in spiritual awareness, community, progress; values of open-mindedness, confidence, charity; spiritual truth looks different to different people and its expression is subjective.
Muslim: God as One soverign creator (no trinity); humans are created for submission; conflict arises within the absence of submission; hope is in the grace of Allah, for those who submit; values identified in the Five Pillars, including obedience and charity; truth revealed in creation and through Muhammed in the Koran.
Pre-Modern: Spirits and gods control the world; humans intermingle with gods and spirits; suffering comes from displeasing the gods/spirits; hope is in earthly glory and sometimes glory in the afterlife; values are in obedience to tradition and ritual; truth is revealed by the gods/spirits.
Post-Modern: Who knows if there's a God? Humans exist; suffering comes from not knowing who you are or what to believe; hope can come in making a leap to identity and faith, or just giving up and laughing at it all; value anything that makes you feel better; truth isn't knowable or expressable, and words are stabs in the dark.
(Modern = secular humanist, cosmic humanist, theological humanist)
REMINDERS:
* Don't analyze the worldview of a particular character or even the society or the setting. Look for the speaker's tone towards these elements and analyze the universe in which the characters, society, and setting exist.
* Don't push a God symbol into a story where it was not intended. Rarely does God appear in stories as a character or symbol. Analyze the worldview fully using the 6 categories of thought and then ask yourself if you still see any God symbolism or allegory. In fact, save interpretation of all symbols, metaphors, and imagery until the end of your process.
* If you get stuck, learn a little about the author. An author's personal worldview will shape his fictional universe 99% of the time.
Tuesday, August 26, 2008
VOICE/Tone/Style Analysis
If your writing prompt is asking you about tone, style, point of view, diction, etc... then your entire answer may come from a focused VOICE analysis (only the "V" of VISIBLE).
Begin by listening to the VOICE behind the literature. Who is speaking? to whom? about what? is the speaker a 1st or 3rd person? is the speaker omniscient? is the speaker reliable?
Tone = the attitude of the speaker towards topic or audience
Tone is not = mood
Tone is not = style
Tone is ESSENTIAL because it shapes meaning. If I say this poem is fantastic, but express is sarcastically, then I am actually saying it is NOT fantastic. Tone is the most important aspect of voice.
Mood = the feeling the reader gets
Style = the way the writer crafts language
Try for two different but complementary tone modifiers
Look for a split tone or a tone shift (if there is one)
Voice Indicators:
Dicton = choice of words (connotative)
Images = sensory pictures (evocative)
Detail = facts (significant)
Language = types of words (stylistic)
Syntax = arrangement of words (strategic)
The Syntax Six:
Thumb - patterns
Pointer - punctuation/phrasing
Middle - sentence length
Ring - modes of sentences
Pinky - grammar
Hand - arrangement of details within the sentence
Begin by listening to the VOICE behind the literature. Who is speaking? to whom? about what? is the speaker a 1st or 3rd person? is the speaker omniscient? is the speaker reliable?
Tone = the attitude of the speaker towards topic or audience
Tone is not = mood
Tone is not = style
Tone is ESSENTIAL because it shapes meaning. If I say this poem is fantastic, but express is sarcastically, then I am actually saying it is NOT fantastic. Tone is the most important aspect of voice.
Mood = the feeling the reader gets
Style = the way the writer crafts language
Try for two different but complementary tone modifiers
Look for a split tone or a tone shift (if there is one)
Voice Indicators:
Dicton = choice of words (connotative)
Images = sensory pictures (evocative)
Detail = facts (significant)
Language = types of words (stylistic)
Syntax = arrangement of words (strategic)
The Syntax Six:
Thumb - patterns
Pointer - punctuation/phrasing
Middle - sentence length
Ring - modes of sentences
Pinky - grammar
Hand - arrangement of details within the sentence
V.I.S.I.B.L.E.
Voice
Listen to the voice behind the words: point of view, audience, topic, reliability, style, and TONE.
Voice indicators: diction, imagery, detail, language, syntax
Ideas
Look for abstracts. What themes/ideas are explored? Are any of the ideas in tension? Are the ideas presented in satire? Are the ideas presented in irony? Are the ideas presented in paradox?
Structure/Development
Look for sections and sequence. Look for logical steps (argument). Look for plot arc and character development along that arc. Consider the movement of time, pace, transition, flashback, foreshadowing, juxtaposition, character groupings, reversal.
Images/Symbols/Motifs
Look for concrete elements: controlling images, motifs, symbols, archetypes, setting, anything visual.
(The previous points are applicable to a close reading. The remaining points require a larger context of research.)
Background
Find out about the author, the era of publication, the setting. Let this information inform the meaning of the work historically.
Lens of Criticism
Look for nontraditional critical perspectives, perhaps feminist, Marxist, psychological, deconstructive, reader response, etc.
Evangelize the Text
This means applying a biblical lens of criticism over the text, looking for issues of man's sin, God's goodness, and the path to redemption. "Evangelizing the text" is not an exercise in condemning the morality of the story or the beliefs of the author. It says that all truth is God's truth, and you are looking for biblical truth. Really good literature should always reflect something true.
Listen to the voice behind the words: point of view, audience, topic, reliability, style, and TONE.
Voice indicators: diction, imagery, detail, language, syntax
Ideas
Look for abstracts. What themes/ideas are explored? Are any of the ideas in tension? Are the ideas presented in satire? Are the ideas presented in irony? Are the ideas presented in paradox?
Structure/Development
Look for sections and sequence. Look for logical steps (argument). Look for plot arc and character development along that arc. Consider the movement of time, pace, transition, flashback, foreshadowing, juxtaposition, character groupings, reversal.
Images/Symbols/Motifs
Look for concrete elements: controlling images, motifs, symbols, archetypes, setting, anything visual.
(The previous points are applicable to a close reading. The remaining points require a larger context of research.)
Background
Find out about the author, the era of publication, the setting. Let this information inform the meaning of the work historically.
Lens of Criticism
Look for nontraditional critical perspectives, perhaps feminist, Marxist, psychological, deconstructive, reader response, etc.
Evangelize the Text
This means applying a biblical lens of criticism over the text, looking for issues of man's sin, God's goodness, and the path to redemption. "Evangelizing the text" is not an exercise in condemning the morality of the story or the beliefs of the author. It says that all truth is God's truth, and you are looking for biblical truth. Really good literature should always reflect something true.
Monthly Outside Reading
Students will be required to read one "MOR" major literary work of AP-level merit during six grading periods:
1) Sept. 2) Oct. 3) Nov. 4) Dec/Jan. 5) Feb/Mar. 6)April
This 30-point requirement will be assessed through the student’s choice of a dialectical journal, an artistic response, an Accelerated Reader test, or a book club meeting.
Dialectical journals: 15 significant quotes, 5 related to a worldview analysis
Art: high quality, features text from the work, explores worldview on some level, explain worldview aspects in writing or in person, turn in work mounted and ready for display/hanging
Test: brief 6-point worldview analysis with conclusion/label identified on the back of test print-out
Book Club: 3 or more students read the same book and meet for one hour or longer to discuss worldview analysis and "VISIBLE" / turn in meeting minutes for credit
Students must select two books from each worldview category during the year. Other books are possible – select from a published list of frequently cited A.P. novels/plays and confer with me about worldview category. Here is a good, core list from which you may wish to make most of your selections:
Judeo-Christian
Macbeth
Great Expectations
Pride and Prejudice
Jane Eyre
Lord of the Flies
Anna Karenina
Murder in the Cathedral
Humanist/Cosmic Humanist
The Mayor of Casterbridge
Things Fall Apart
The Joy Luck Club
Brave New World
Fahrenheit 451
Wuthering Heights
Bless Me, Ultima
Postmodern
Waiting for Godot
Life of Pi
The Stranger
Anouilh’s Antigone
Breakfast of Champions
The Things They Carried
Catch-22
1) Sept. 2) Oct. 3) Nov. 4) Dec/Jan. 5) Feb/Mar. 6)April
This 30-point requirement will be assessed through the student’s choice of a dialectical journal, an artistic response, an Accelerated Reader test, or a book club meeting.
Dialectical journals: 15 significant quotes, 5 related to a worldview analysis
Art: high quality, features text from the work, explores worldview on some level, explain worldview aspects in writing or in person, turn in work mounted and ready for display/hanging
Test: brief 6-point worldview analysis with conclusion/label identified on the back of test print-out
Book Club: 3 or more students read the same book and meet for one hour or longer to discuss worldview analysis and "VISIBLE" / turn in meeting minutes for credit
Students must select two books from each worldview category during the year. Other books are possible – select from a published list of frequently cited A.P. novels/plays and confer with me about worldview category. Here is a good, core list from which you may wish to make most of your selections:
Judeo-Christian
Macbeth
Great Expectations
Pride and Prejudice
Jane Eyre
Lord of the Flies
Anna Karenina
Murder in the Cathedral
Humanist/Cosmic Humanist
The Mayor of Casterbridge
Things Fall Apart
The Joy Luck Club
Brave New World
Fahrenheit 451
Wuthering Heights
Bless Me, Ultima
Postmodern
Waiting for Godot
Life of Pi
The Stranger
Anouilh’s Antigone
Breakfast of Champions
The Things They Carried
Catch-22
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