Free Essay

Hamlet- Identity Revealed

In:

Submitted By meo777
Words 1213
Pages 5
Miguel Ortega
English 102
Dr. Wollstadt
Explication Paper
Identity Revealed In the second scene of the premiere act of Hamlet, Prince Hamlet gives a soliloquy between lines 129-159, as soon as he is left alone by Claudius and Gertrude. As he casts all of his thoughts and complaints about life, Hamlet seems to give out a lot of his own personality and deepest thoughts that he would not reveal to anyone else except for himself (and for the reader/audience is to deliberately know as well). In this speech it is obvious that Hamlet was holding in all of these thoughts until the right moment, when he's by himself, in when he could vomit them all out, just as he himself admits, "But break, my heart, for I must hold my tongue" (1.2.159). Doing this so in his secret place, Hamlet allows to be honest with himself and therefore his words reflect Hamlet's true intentions, perspectives, thoughts, and ultimately his true colors- all which will later reflect in his actions throughout the rest of the play. The reader can even conclude that these lines foreshadow Hamlet's actions (or inactions) for the remainder of the play. In these lines, Hamlet's emotional state make him vulnerable, allowing his unrestrained words to reflect his true personality and motives. Hamlet begins his soliloquy boldly expressing that he wished he could die: "O, that this too too sullied flesh would melt,/Thaw, and resolve itself into a dew!" (1.2.129-30). Furthermore, he wishes that God had not made suicide a sin so that he could do the act himself: "Or that the Everlasting had not fixed his canon 'gainst self-slaughter!" (1.2.131-2). It is immediately obvious that this passage is written in metrical form, making it a versed passage. Most of the lines in this soliloquy end with an exclamation point or a question mark. Hamlet's statements seem very direct and all seem to hover around the idea of hatred and repulse. It is evident that Hamlet's mood is an angry and vulnerable one and is probably speaking these lines in a rushed and desperate manner. Hamlet goes right away into expressing that the emotional pain he is going through influences him to have a death wish. It is obvious that Hamlet is depressed and wants to commit suicide but restrains himself as he ponders upon "God's canon". Here, the word "canon" is meant to have a duplicate meaning beyond its literal meaning. The way it is used next to "God", it meant to represent God's own law or fury. This line alone explicates Hamlet's belief in God; more further, it explains that Hamlet's faith follows that of Christian principles which prohibit the act of suicide and condemn those who do to an eternity in hell. This shows that although Hamlet is in a vulnerable state, he is still very aware of his reality and won't act foolishly against his knowledge. Further, Hamlet expresses to God directly how "weary, stale, flat, and unprofitable/ Seem to [him] all the uses of this world..." (1.2.134-5), giving Hamlet a complaintive attitude and revealing once again his expression of hatred towards his life and the world through the use of unconstructive and depraved words. Supplementary, Hamlet compares life to an unweedened garden/ That grows no seed" (1.2.135-6), with such illustrative comparison it is obvious that Hamlet has an exceptionally negative mindset. Another interpretation of these lines can be that Hamlet is just using God as an excuse to not kill himself. Perhaps he can't practice what he preaches because his person is not daring enough to take a life, let alone his own. Hamlet's first lines in this passage gives the audience a view of Hamlet's negative and death-focused mentality, (and possibly even a hesitant one). In the following lines, Hamlet now reflects his perspective of other people- more specifically, the people closest to him. First, Hamlet expresses compliments to his now deceased father, calling him an "Excellent king" (1.2.139) and even comparing him as "Hyperion", the Titan sun-god, in comparison to his repulsive uncle whom he compares to a "satyr", a mythological beast. It seems that his father is the only person whom he speaks positively about. He then transitions his focus to his mother, Gertrude, stating how much his father loved her, exaggerating that he loved her so much that he "might not beteem the winds of heaven/Visit her face too roughly" (1.2.141-2) (Here, the word "beteem" is meant to replace the word "allow"). Hamlet then speaks of the same love and care that Gertrude once had for the former king as well, but then questions her nonsense attitude of moving on so quickly after his death by marrying his own brother, saying that even a "...beast, that wants discourse reason,/ Would have mourned longer..." (1.2.150-1). In comparing her to less than a beast, it is obvious that Hamlet feels resentment towards his mother and is holding bitterness against her for moving on from his father so quickly, so much so that he generalizes all women as being weak: "Frailty is thy name, woman!" (1.2.146). Although he is bitter towards his mother, as he continues his speech, he makes it known that the core reason of his repulsion is Claudius himself (even though still oblivious that it is Claudius who is responsible for his tragic state to begin with). Hamlet introduces him with family ties, saying, "My father's brother, but no more like my father/ Than I to Hercules" (1.2.152-3). Once again, Hamlet expresses his repulsion by stating an exaggerated comparison, this time, he compares himself with a god to portray the distance between him and Claudius in his own mind. Hamlet does not explain any specific reasons of why he dislikes Claudius as a person per se, but that he just simply does. Since Hamlet is still oblivious of Claudius murdering his father, perhaps the sole reason that Hamlet hates Claudius is the abhorrent thought that he is sleeping with his mother, since in that time period it was considered incest for a woman to marry or have sexual relationship with her brother-in-law (and vice-versa), as he exclaims, "O, most wicked speed to post, with such dexterity and incestuous sheets!" (1.2.156-7) about his mother toward Claudius. It is evident that Hamlet feels most distant from those closest to him, and he that he considered to be most dearest to his heart is even more remote since he is deceased. From the written form of this passage it is palpable that Hamlet is expressing every line with a passionate and desperate manner. A lot of tension is backed up with the use of exclamation points and the various exaggerations and comparisons that Hamlet uses all throughout. Hamlet's case in this passage supports the theory that when one is in a vulnerable position, one will reveal their true thoughts and motives when they speak, even though it is just the audience who can see/hear his thoughts.

Citation
Shakespeare, William. Hamlet. Exploring Literature. Madden, Frank. Ed 4. New York: Pearson Education, 2009. 550-551.

Similar Documents

Premium Essay

A Drama Review of Hamlet

...Drama Review of Hamlet By studying the Stage Show of Wuhan University Abstract As the longest masterpiece of Shakespeare, Hamlet impresses us with its tragic revenge of prince Hamlet. This stage show presents us the core part of Hamlet through performance of “nunnery scene”, “closet scene” and Hamlet’s monologue. Thus, this article will mainly focuses on drama review of the stage show from aspects of technical arts, adaption and editing as well as performance of the actor and actresses and a character analysis combing with Oedipus complex, Electra complex together with the author’s personal reactions. Keywords: drama review; technical arts; performance, character analysis Contents I. Introduction………………………………………………………………………....3 II. Technical arts………………………………………………………………………4 A. Lighting &Music.……………………………………………………………..4 B. Stage Properties…………………………………………………………..........4 C. Costumes………………………………………………………………………4 III. Editing& Adaption………………………………………………………………..5 IV. Performance……………………………………………………………………….6 A. Hamlet…………………………………………………………………………...6 B. Ophelia………………………………………………………………………….6 C. Gertrude…………………………………………………………………………7 V. Character Analysis………………………………………………………………....7 A. Hamlet………………………………………………………………………….7 B. Ophelia…………………………………………………………………………8 C. Gertrude………………………………………………………………………..9 VI. Conclusion…………………………………………………………….................9 Introduction The original play of Hamlet is a masterpiece...

Words: 2097 - Pages: 9

Premium Essay

Irony in Hamlet

...In Act 3, Scene 4, Hamlet is asked by his mother, Gertrude, to reveal what was making him act like he was crazy. Hamlet believes that Gertrude is truly having a heart to heart with him and really desires to put Hamlet’s troubles to ease. However, what Hamlet does not know is that Gertrude allows Polonius to hide being the arras to overhear their conversation for King Claudius. As the audience, we are aware that Polonius is in the room with Gertrude and Hamlet, but Hamlet is unaware of his presence. By arguing to Gertrude over her marriage to his uncle Claudius, Hamlet’s emotions of hate towards Claudius were beginning to boil and it was as if Hamlet would commit to anything under impulse. At this point, Hamlet is in complete control over Gertrude, using physical force to pressure her to admit her guilt. While still listening from being the arras, Polonius, believing that the Queen could be in danger, calls out for help. Tragically, as an audience, we know that Hamlet will act on impulse by confusing Polonius for Claudius. Although Hamlet is unknown of the identity of the man hiding being the arras, he assumes it is Claudius and acts irrationally, killing Polonius. Even immediately after the incident, it is revealed that Hamlet was not sure that he had killed Claudius when he says “Is it the king?” (Act 3, Scene 4, Line 32). It is tragic that the dramatic irony of this scene made is predictable for the audience to determine Polonius’ fate. In this case, Polonius suffers for his...

Words: 970 - Pages: 4

Free Essay

Hamlet 's Feminity

...1712-8056 Canadian Academy of Oriental and Occidental Culture Http://www.cscanada.org Http://www.cscanada.net E-mail: css@cscanada.org; caooc@hotmail.com Vol.5 No.5 2009 10/31/2009 Hamlet’s Femininity L A F É MINIT É D E HAMLET GUO De-yan1 Abstract: The charm of Hamlet over the centuries largely lies in Shakespeare’s subtle treatment of Hamlet, and many critics have interpreted Hamlet’s tragedy as a result of his indecisive character, his obsession with philosophical thinking or his Oedipus Complex. This essay holds that Hamlet’s struggle with his femininity also contributes to his tragedy. Hamlet does exhibit some masculine traits such as courage, rationality and aggressiveness, but at the same time he is agonized to find that he is as weak, emotional, passive and dependent as a woman. In whatever cases he is placed either as a prince, a son or a lover, he is more identified with women than with men. Such a discovery tortures him and produces in him some sense of self-negation and self-hatred. Because of his deep-rooted patriarchal concept of gender identity, Hamlet cannot make a compromise with the feminine traits in him, and it somewhat prevents him from taking a masculine action to avenge his father. Key words: Hamlet; Femininity; Masculinity; Tragedy; Self-Hatred Résumé: Depuis des sicècles, le charme d’Hamlet se trouve largement dans un traitement subtil de Shakespeare de ce personnage et de nombreuses critiques ont interprété la tragédie d'Hamlet...

Words: 4376 - Pages: 18

Premium Essay

Literatura Proizvedeniia

...1. W. Shakespeare « Hamlet» (Renaissance) Character List Hamlet -  The Prince of Denmark, the title character, and the protagonist. About thirty years old at the start of the play, Hamlet is the son of Queen Gertrude and the late King Hamlet, and the nephew of the present king, Claudius. Hamlet is melancholy, bitter, and cynical, full of hatred for his uncle’s scheming and disgust for his mother’s sexuality. A reflective and thoughtful young man who has studied at the University of Wittenberg, Hamlet is often indecisive and hesitant, but at other times prone to rash and impulsive acts. Hamlet is extremely philosophical and contemplative. He is particularly drawn to difficult questions or questions that cannot be answered with any certainty. Faced with evidence that his uncle murdered his father, evidence that any other character in a play would believe, Hamlet becomes obsessed with proving his uncle’s guilt before trying to act. Claudius -  The King of Denmark, Hamlet’s uncle, and the play’s antagonist. The villain of the play, Claudius is a calculating, ambitious politician, driven by his sexual appetites and his lust for power, but he occasionally shows signs of guilt and human feeling—his love for Gertrude, for instance, seems sincere. Gertrude -  The Queen of Denmark, Hamlet’s mother, recently married to Claudius. Gertrude loves Hamlet deeply, but she is a shallow, weak woman who seeks affection and status more urgently than moral rectitude or truth. Polonius -  The...

Words: 9533 - Pages: 39

Premium Essay

History of Transgender

...time-line of transgender identities. © 1999 Drs. Arianne van der Ven Contents Summery 2 Introduction: The development of gender as we know it How does history relate to us? 3 From a one-gender system to a two-gender system, and on to ‘third sex’ categories. 3 Some specifics of gender transitions. 5 Part I: Sexology begins. Transgender Identities before the 19th century 7 The early 19th century: Enters forensic psychiatry 7 The late nineteenth century: Inverts turn to Experts. Enters sexology and the empirical case history. 8 Part II: Early 20th century The rise of Psychoanalysis and it's denial of transgender identities Developments in Medical technology. 10 Psycho-analysis’ erasure of transgender 11 The sixties and seventies: routine treatment of the empty transsexual 12 Part III: Transgender becomes Real. The emergence of transgender. 15 De-constructing gender, from gender identity to “freedom of gender expression”. 15 Changes in transgender care. 17 The lack of transgender in Continental Europe. 18 References 19 Summery This paper was originally written for the “Sex, Gender and Identity” program of The School for International Training (SIT) in Amsterdam. SIT is an US university and specializes in study abroad programs for students from American universities. This paper discusses transgender identities during the last hundred...

Words: 9448 - Pages: 38

Free Essay

Classification of Literature According to Form

...* CLASSIFICATION OF LITERATURE ACCORDING TO FORM * POETRY * -one of the three major types of literature * -divided into lines, stanzas, with diverse and unique characteristics and often employ regular rhythmic patterns or meters. * -most poets make use of imagery, figurative language, and special devices * ELEMENTS OF POETRY 1. Persona or the voice- “speaker”, may be a poet or completely different character 1 2. Theme- insight into life revealed by the poem 3. Rhythm and Rhyme-2 (pattern of stressed and unstressed syllables in a line of poetry ,3 repetition of sound at the ends of words, * 4. Form/Genre (Lyric, Narrative, Dramatic)4-6 * 5. Diction (Connotative, Denotative) * 6. Literary Devices (Techniques, Figures of Speech) * Miscellaneous elements: * Tone-attitude of the writer 7 * Mood-atmosphere or general feeling * TYPES AND FORMS OF POETRY 1. LYRIC POETRY- meant to be sung to the accompaniment of a lyre -short, simple and easy to understand 8 A. Kinds of Lyric Poetry B. Sonnets- 14 lines with a formal rhyme scheme or pattern 9 C. Elegy- expresses lament or mourning for the dead 10 3. Ode- noble feeling, expressed with dignity and praises * TYPES AND FORMS OF POETRY * 4. Songs- poem w/ or w/o definite number of syllables and stanza and always accompanied by musical instrument * 5. Psalms- song praising God or the Virgin Mary and containing philosophy in life 11 * 6. Simple...

Words: 1883 - Pages: 8

Free Essay

Literary Theory

...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...

Words: 45107 - Pages: 181

Free Essay

Literature

...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...

Words: 44695 - Pages: 179

Premium Essay

Health

...The Role of Health Consciousness, Food Safety Concern and Ethical Identity on Attitudes and Intentions towards Organic Food Dr Nina Michaelidou University of Birmingham Birmingham Business School University House Edgbaston Birmingham B15 2TT Phone +441214148318 n.michaelidou@bham.ac.uk Dr. Louise M. Hassan University of Stirling and the Open University Institute for Social Marketing University of Stirling Stirling, FK9 4LA Scotland UK Phone +44 1786 466457 Fax +44 1786 466449 louise.hassan@stir.ac.uk 1 Abstract The paper examines the roles of health consciousness, food safety concern and ethical self identity in predicting attitudes and purchase intention within the context of organic produce. A conceptual model is derived and tested via structural equation modelling. Findings indicate food safety as the most important predictor of attitude while health consciousness appears to be the least important motive in contrast to findings from some previous research. In addition, ethical self identity is found to predict both attitudes and intention to purchase organic produce emphasizing that respondents’ identification with ethical issues affects their attitudes and subsequent consumption choices. Key words: organic foods, health consciousness, food safety, ethical self-identity, structural equation modeling, attitudes and intentions, rural consumers. Background The organic food market has grown substantially over recent years across the globe (Giffort & Bernard 2006;...

Words: 6148 - Pages: 25

Free Essay

Ghhg

...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...

Words: 43588 - Pages: 175

Premium Essay

Narrative

...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...

Words: 12257 - Pages: 50

Premium Essay

Harold Bloom

...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...

Words: 239932 - Pages: 960

Premium Essay

Independent

...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm   Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices.   Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text.   Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text.   Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors.     Allegory:...

Words: 4700 - Pages: 19

Premium Essay

King Lear

...KING LEAR Act One The play opens at Lear’s court, where we meet the main characters. The opening scene is in itself shocking, as Lear forces his daughters to declare their love for him. The one who loves him the most will receive the largest part of his kingdom, which he intends to divide between the three. Lear himself wishes to hand over the ruling of the kingdom to his daughters, while retaining the ‘Pre-eminence, and all the large effects / That troop with majesty’ (Scene 1, Lines 131-2). Goneril and Regan acquit themselves well at this love test. Cordelia, however, dismayed by her sisters’ ponderous words, refuses to take part in the ‘contest’ and tells Lear that she loves him as her duty instructs her. When Cordelia refuses to speak again, Lear casts her off without a moment’s hesitation. Ken attempts to argue with the King, accusing him of ‘hideous rashness’ (Scene 1, Line 151). When Kent further warns Lear that his elder daughters are false flatterers, Kent too is banished. Lear invests Albany and Cornwall with power, and, after Burgundy refuses to take Cordelia as his wife, now that she is without dowry, France takes her for her virtues alone. Goneril and Regan complain, in private, about Lear’s harsh judgement and unpredictable behaviour and worry that they too may be treated unfairly. Edmund, Gloucester’s bastard son, soliloquises about his own situation, revealing his devious intentions towards his brother. When his father enters, Edmund’s...

Words: 27223 - Pages: 109

Premium Essay

Learning Theory

...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...

Words: 98252 - Pages: 394