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BK

6th ed.

New York : Oxford University, 2011

xix, 444 s. : il. ; 24 cm

ISBN 978-0-19-539472-6 (brož.)

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Obsahuje bibliografické odkazy a rejstřík

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CONTENTS // // PREFACE XV // // 1. Getting Started: The Precritical Response 1 // I. Setting 6 // II. Plot 7 // III. Character 9 // IV. Structure 10 // V. Style 10 // VI. Atmosphere 11 // VII. Theme 12 // 2. // Traditional Approaches 17 // I. A Note on Traditional Approaches 17 // II. Textual Scholarship, Genres, and Source Study 21 // A. Textual Scholarship: Do We Have an Accurate // Version of What We Are Studying? 21 // 1. General Observations 21 // 2. Text Study in Practice 23 // B. Matters of Genre: What Are We Dealing With? // 1. An Overview of Genre 30 // 30 // 2. Genre Characteristics in Practice 33 // C. Source Study: Did Earlier Writings Help This Work // Come into Being? 42 // III. Historical and Biographical Approaches 44 // A. General Observations 44 // B. Historical and Biographical Approaches in Practice 45 // 1. “To His Coy Mistress” 45 // vi // vili CONTENTS // Contents ix // 2. Hamlet 47 // 3. Huckleberry Finn 50 // 4. “Young Goodman Brown” 54 // 5. “Everyday Use” 55 // 6. Frankenstein 58 // IV. Moral and Philosophical Approaches 60 // A. General Observations 60 // B. Moral and Philosophical Approaches in Practice 62 // 1. “To His Coy Mistress” 62 // 2. Hamlet 63 // 3. Huckleberry Finn 63 // 4. “Young Goodman Brown” 64 // 5. “Everyday Use” 66 // 6. Frankenstein 68 // V. Summary of Key Points 69 // VI. Limitations of Traditional Approaches 70 // 3. Formalist Approaches 74 // I. The Process of Formalist Analysis: Making the // Close Reader 74 // II. A Brief History of Formalist Criticism 76 // A. The Course of Half a Century 76 // B. Backgrounds of Formalist Theory 76 // C. The New Criticism 78 // D. Reader-Response Criticism: A Reaction 79 // III. Constants of the Formalist Approach: Some Key Concepts, Terms, and Devices 86 // A. Form and Organic Form 86 // B. Texture, Image, Symbol 88 // C. Fallacies 89 //

D. Point of View 90 // E. The Speaker’s Voice 91 // F. Tension, Irony, Paradox 93 // IV. The Formalist Approach in Practice 96 // A. Word, Image, and Theme: Space-Time Metaphors in // “To His Coy Mistress” 96 // B. The Dark, the Light, and the Pink: Ambiguity as // Form in “Young Goodman Brown” 99 // 1. Virtues and Vices 100 // 2. Symbol or Allegory? 101 // 3. Loss upon Loss 101 // C. Romance and Reality, Land and River: The Journey as // Repetitive Form in Huckleberry Finn 103 // D. Dialectic as Form: The Trap Metaphor in Hamlet 107 // 1. The Trap Imagery 107 // 2. The Cosmological Trap 108 // 3. “Seeming” and “Being” 109 // 4. “Seeing” and “Knowing” 112 // E. Irony and Narrative Voice: A Formalist Approach to “Everyday Use” 113 // F. Frankenstein: A Thematic Reading 116 // V. Summary of Key Points 121 // VI. Limitations of the Formalist Approach 122 // 4. Materialisms 125 // I. Marxism 125 // II. British Cultural Materialism 130 // III. New Historicism 132 // IV. Ecocriticism 138 // V. Literary Darwinism 141 // VI. Materialisms In Practice 148 // A. A New History of “To His Coy Mistress” 148 // B. Hamlet’s Evolution 149 // C. Frankenstein: The Creature as Proletarian 150 // D. “The Lore of Fiends”: Hawthorne and His Market 151 // E. Fathers and Sons, Gods and Slaves: The Material versus the Spiritual in Huckleberry Finn 154 // F. "‘But they’re priceless!’”: Material versus Exchange Value in “Everyday Use” 161 // VII. Summary of Key Points 163 // VIII. Limitations of Materialist Approaches 165 // 5. Literature and Linguistics 169 // I. Structuralism and Poststructuralism, Including // Deconstruction 169 // A. Structuralism: Context and Definition 169 // B. The Linguistic Model 169 // C. Russian Formalism: Extending Saussure 171 // D. Structuralism, Lévi-Strauss, and Semiotics 171 //

E. French Structuralism: Codes and Decoding 173 // F. British and American Interpreters 175 // G. Poststructuralism: Deconstruction 176 // II. Dialogics 178 // III. Linguistic Approaches in Practice 183 // A. Deconstructing “To His Coy Mistress” 183 // B. The Deep Structure of Hamlet 184 // C. Language and Discourse in Frankenstein 186 // D. Huck and Jim: Dialogic Partners 189 // E."Speak of the Devil!": The Sermon in “Young Goodman Brown” 192 // F. "Asalamalakim!": Linguistic Distortion in "Everyday Use" 194 // IV. Summary of Key Points 196 // V. Limitations of Linguistic Approaches 197 // 6. The Psychological Approach 201 // I. Aims and Principles 2011 // A. Abuses and Misunderstandings of the Psychological Approach 201 // B. Freud’s Theories 203 // C. Other Theories 208 // II. The Psychological Approach in Practice 210 // A. Hamlet: The Oedipus Complex 210 // B. Rebellion Against the Father in Huckleberry Finn 212 // C. Prometheus Manque: The Monster Unbound 2151 // D. “Young Goodman Brown”: Id Versus Superego 216 // E. Sexual Imagery in “To His Coy Mistress” 218 // F. Morality Principle Over the Pleasure Principle in “Everyday Use” 220 // III. Summary of Key Points 222 // IV. Other Possibilities and Limitations of the Psychological | // Approach 222 // 7. Mythological and Archetypal Approaches 225 // I. Definitions and Misconceptions 225 // II. Some Examples of Archetypes 226 // A. Images 227| // B. Archetypal Motifs or Patterns 230 // C. Archetypes as Genres 231 // III. Myth Criticism in Practice 231 // A. Anthropology and Its Uses 231 // 1. The Sacrificial Hero: Hamlet 234 // 2. Archetypes of Time and Immortality: “To His Coy Mistress” 236 // B. Jungian Psychology and Its Archetypal Insights 238 // 1. Some Special Archetypes: Shadow, Persona, and Anima 240 // 2. “Young Goodman Brown”: A Failure of Individuation 242 //

3. Creature or Creator: Who Is the Real Monster in Frankenstein? 243 // 4. Syntheses of Jung and Anthropology 244 // C. Myth Criticism and the American Dream: Huckleberry Finn as the American Adam 245 // D. “Everyday Use”: The Great [Grand]Mother 248 // IV. Summary of Key Points 250 // V. Limitations of Myth Criticism 251 // 8. Feminisms and Gender Studies 253 // I. Feminisms and Feminist Literary Criticism: Definitions 253 // II. First-, Second-, and Third-Wave Feminisms 254 // III. Woman: Created or Constructed? 259 // A. Feminism and Psychoanalysis 260 // B. Feminists of Color 264 // C. Marxist and Materialist Feminisms 270 // D. Feminist Film Studies 272 // IV. Gender Studies 275 // V. Feminisms and Gender Studies in Practice 278 // A. The Marble Vault: The Mistress in “To His Coy Mistress” 278 // B. Frailty, Thy Name Is Hamlet: Hamlet and Women 280 // C. “The Workshop of Filthy Creation”: Men and Women in Frankenstein 284 // 1. Mary and Percy, Author and Editor 285 // 2. Masculinity and Femininity in the Frankenstein Family 287 // 3. “I Am Thy Creature...” 289 // D. Men, Women, and the Loss of Faith in “Young Goodman Brown” 290 // E. Women and “Sivilization” in Huckleberry Finn 292 // F. “In Real Life”: Recovering the Feminine // Past in “Everyday Use” 295 // VI. Summary of Key Points 298 // VII. The Future of Feminist Literary Studies and Gender Studies: Some Problems and Limitations 299 // 9. Cultural Studies 305 // I. Defining Cultural Studies 305 // II. U.S. Ethnic Studies 308 // A. African-American Writers 311 // B. Latina/o Writers 313 // C. Native American Literatures 316 // D. Asian-American Writers 318 // III. Postmodernism and Popular Culture 319 //

A. Postmodernism 319 // B. Popular Culture 324 // IV. Cultural Studies in Practice 325 // A. Two Characters in Hamlet: Marginalization with a Vengeance 325 // B. "To His Coy Mistress”: Implied Culture 329 // C. From Paradise Lost to Frank-N-Furter: The Creature / Lives! 331 // 1. Revolutionary Births 331 // 2. "A Race of Devils” 331 // 3. The Frankenpheme in Popular Culture: Fiction, Drama, Film, Television 333 // D. Postmodern Goodman Brown 340 // E. “Telling the Truth, Mainly”: Tricksterism in Huckleberry Finn 345 // F. Cultures in Conflict: A Story Looks at Cultural Change 350 // V. Summary of Key Points 353 // VI. Limitations of Cultural Studies 354 // 10. Postcolonial Studies 361 // I. Postcolonialism: Definitions 361 // II. Some Key Figures and Emphases 363 // III. Postcolonial Critical Practices 371 // A. Seventeenth-Century English Colonization and // “To His Coy Mistress” 371 // B. Postcolonial Adaptations of Hamlet 373 // C. Frankenstein: Are There Any New Worlds? 376 // D. Jim’s Superstitions in Huckleberry Finn 378 // E. Salem: A City Upon a Hill? 379 // F. The End of an Era in “Everyday Use” 380 // IV. Summary of Key Points 380 // V. Limitations of Postcolonialism 381 // EPILOGUE 389 // APPENDIX A Andrew Marvell, "To His Coy Mistress” 393 // APPENDIX B Nathaniel Hawthorne, “Young Goodman Brown” 395 // APPENDIX C Alice Walker, “Everyday Use” 405 // GLOSSARY OF LITERARY TERMS 413 // INDEX 431