Modernism vs Postmodenism

8/9/2019 Modernism vs Postmodenism

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FORMALISM vs STRUCTURALISM

FORMALISM: represents a school of both literary criticism and literary theory bein mostly

related to str!ct!ral reasons of a certain te"t# That is the st!dy of a te"t $itho!t the need of ta%in

into acco!nt any e"ternal infl!ence#

RUSSIA& FORMALISM $as an infl!ential school of literary criticism in R!ssia from the '(')s

to the '(*)s incl!din the $or% of a n!mber of hihly infl!ential R!ssian and Soviet scholars

s!ch as +oris Tomashevs%y, $ho revol!tionised literary criticism by establishin the specificity

and a!tonomy of poetic lan!ae and literat!re#

Formalist representatives: Mi%hail +a%htin, +oris Tomashevs%y,

STRUCTURALISM: represents a theoretical paradim in socioloy, anthropoloy, lin!istics

and semiotics post!latin that components of h!man c!lt!re m!st be comprehended $ith respect

to their relationship to a $ider, overarchin system or constr!ction# It s!cceeds to e"plore the

str!ct!res that !nderlie all the thins that h!mans create, pres!me, perceive, and e"perience#

Structuralism representatives: Ferdinand de Sa!ss!re, Roland +arthes

-.RSO&AL R.FL.CTIO&S U-O& T/. COURS.:

The entre co!rse $as an inc!rsion in the main paradims e"istent by dra$in their concept!al

frame$or% and e"plainin their main characteristics# The entire co!rse $as driven by 0!estions

to $hich the st!dents had to ans$er ar!in their opinions by the means of e"amples from their

st!dy bac%ro!nd#



-OST1STRUCTURALISM 2 3.CO&STRUCTIO& 2 -OSTMO3.R&ISM

-OST1STRUCTURALISM: is movement closely related to postmodernism as a response to

str!ct!ralism# A post1str!ct!ralist approach ar!es that to !nderstand an ob4ect 5e##, a te"t6, it is

necessary to st!dy both the ob4ect itself and the systems of %no$lede that prod!ced the ob4ect#

Post-structuralism representatives: 7ac0!es 3errida, Michel Fo!ca!lt, 7!dith +!tler, 7ac0!es

Lacan, 7ean +a!drillard, and 7!lia 8risteva,

3.CO&STRUCTIO&: is a literary theory and philosophy of lan!ae derived primarily from

7ac0!es 3errida9s $or% $hich says that a piece of $ritin does not have 4!st one meanin and

that the meanin depends on the reader#

Deconstruction representatives: 7ac0!es 3errida

-OSTMO3.R&ISM: a late1)th1cent!ry movement in the arts, architect!re, and criticism

considered a response to modernism# -ostmodernism incl!des 0!estionin perceptions of c!lt!re,

literat!re, art, philosophy, history, economics, architect!re, fiction, and literary criticism# It is

fre0!ently lin%ed to deconstr!ction and post1str!ct!ralism

Postmodernist representatives: Sam!el +ec%ett, Umberto .co


The material st!died $as ;A ref!sal to mo!rn the death, by fire, of a child in London< by 3ylan

Thomas# The poem is dedicated to a child that $as victim of bombardment in London d!rin

=orld =ar II# In this poem one can find not only the poet9s o$n e"perience and personal

impressions abo!t mortality b!t also some echoes of his c!lt!ral bac%ro!nd#



M>T/ CRITICISM 2 ARC/.T>-AL CRITICISM 2 -S>C/OA&AL>T/ICAL

A--ROAC/.S TO HAMLET

M>T/1CRITICISM is an interpretative literary approach $hich may be applied in combination$ith other approaches and readin strateies# A myth1critical approach normally reveals or

identifies characteristics of mytholoy in a literary $or%11 $hether as the creation of an a!thentic

myth, as the appropriation of a conventional mytholoical fi!re, advent!re, or place, or in the

form of all!sions11and ma%es !se of these mytholoical elements to assist interpretation of the

$or%#

ARC/.T>-AL LIT.RAR> CRITICISM is a form of critical theory that interprets a $ritten te"t

by concentratin on repeated myths and archetypes#

-S>C/OA&AL>T/ICAL A--ROAC/: an approach created in '()) by ?iennese physician

Sim!nd Fre!d $ith the p!blishin of @On The Interpretation Of 3reams#@ The psychoanalytic

approach considers $e thin%, feel, and act the $ay $e do d!e to the fact of o!r !nconscio!s, of

$hich $e are not a$are# O!r !nconscio!s is intensely infl!enced by first childhood e"periences#


The Fre!dian approach $o!ld apply iven that it portrays /amlets Id, eo and s!pereo in the

development of the story# At first /amlet9s Id, motivation for veneance is bein repressed by his

s!per eo so he ind!les himself by maintainin Ophelia9s company b!t his Id is m!ch too

intense that his .o m!st come in to let his haardo!s desire o!t in a healthy $ay by

orchestratin the play $hich moc%s his !ncle and ives him reat deliht to brin his Uncle,

Cla!di!s in h!miliation and !ilt# /e even drops a $ord every occasionally to the %in and

0!een $ith reards to their r!shed marriae# Alon $ith that, he also confirms that $hat the

host had said is tr!e# +!t it $asn9t eno!hB he $anted the ne$ %in, Cla!di!s9 death by his

hand# /is Id f!lly ta%es control $hen he had mista%en the eavesdropper, -oloni!s for Cla!di!s

hidin in the c!rtain of ertr!de9s room# This res!lted to Laertes9 f!ry and Ophelia9s insanity#



R.A3.R1R.S-O&S. CRITICISM

R.A3.R1R.S-O&S. CRITICISM: is a school of literary theory that concentrates on thea!dienceDreader and their e"perience of a literary $or%, in comparison to other schools and

theories that foc!s attention basically on the a!thor or the content and form of the $or%#

In the reader1response critical approach, the primary foc!s falls on the reader and the process of

readin rather than on the a!thor or the te"t#

Representatives: Roland +arthes, &orman /olland



&.= /ISTORICISM applied to Wuthering Heights

&.= /ISTORICISM: &e$ /istoricism is a school of literary theory $hich $as fo!nded the'(E)s, mainly thro!h the $or% of the critic and /arvard .nlish -rofessor Stephen reenblatt,

and achieved e"tensive infl!ence in the '(()s# &e$ /istoricists intend conc!rrently to

!nderstand the $or% thro!h its c!lt!ral conte"t and to !nderstand intellect!al history by means

of literat!re# &e$ /istoricism reveals many of the same theories as $ith $hat is fre0!ently

%no$n as c!lt!ral materialism, b!t c!lt!ral materialist critics are even more li%ely to p!t stress

on the present ramifications of their st!dy and to position themselves in disareement to c!rrent

po$er frame$or%s, $or%in to ive po$er to typically disadvantaed ro!ps#


3isc!ssion abo!t =!therin /eihts from a &e$ /istoricism perspective reveals main ideas

s!ch as:

1 .mily +ronte lived in an era $hen $omen $ere e"pected to be docile, silent and

obedient#

1 Catherine .arnsha$ is representative for the a!thor beca!se of her free spirit,

st!bbornness and passion, more than +ronte $as and $ished to be#



-OSTCOLO&IALISM applied to Sailing to Byzantium

-OSTCOLO&IALISM: is an scholastic discipline presentin methods of intellect!al disco!rsethat e"amine, e"plain, and respond to the c!lt!ral leacies of colonialism and imperialism, to the

h!man reperc!ssions of controllin a co!ntry and establishin settlers for the economic

e"ploitation of the indieno!s people and their land# 3ra$in from postmodern schools of

tho!ht, postcolonial st!dies e"amine the politics of %no$lede 5creation, control, and

distrib!tion6 by e"aminin the f!nctional relations of social and political po$er that !phold

colonialism and neocolonialismthe ho$ and the $hy of an imperial reime@s representations

5social, political, c!lt!ral6 of the imperial colonier and of the colonied people#

Postcolonialism representatives: .d$ard Said, Frant Fanon


The poem ;Sailin to +yanti!m< provides an imae of Istanb!l, the .astern capital of the

former Roman .mpire, $hich is identified $ith inactiveness, sens!ality, and e"otic mysticism#

>eats e"plores an ethnocentric or .!rocentric perspective, seein the .ast as an e"otic ;Other<

$hich comes to be the contrastive foil to his o$n interests and concerns, all of $hich the poem

presents as ordinary#

-ostcolonial $riters evo%e or enerate a precolonial model of their o$n nation, re4ectin the

modern and the contemporary, $hich is tainted $ith the colonial stat!s of their co!ntries# /ere,

then, is the first characteristic of postcolonial criticism 2 a conscio!sness of representations of

the non1.!ropean as e"otic or immoral ;Other<#



F.MI&IST CO&C.R&S A&3 A--ROAC/.S applied to Wuthering Heights

Feminist approach allo$s the reader to see ho$ $omen or the lac% of $omen had an impact on

the story and is also concerned $ith their role, position and infl!ence in a literary te"t#


Wuthering Heights is set d!rin the '( th cent!ry $hen $omen $ere e"pected to follo$ the orders

or rely on men completely# The female characters in this story are disempo$ered in femininity

yet are strenthened by their adoption of masc!line behavio!r# .ach female character

e"periences rites of passae in the novel res!ltin in their becomin more feminine or more

masc!line, strenthenin or $ea%enin the character respectively# In .mily +rontG9s novel, the

e"tent of disempo$erment is severe, res!ltin in total deradation of a character or even, as $ith

the case of Catherine, death#

=omen in the 'Eth and '(th cent!ry lived in a patriarchal society dominated entirely by the $ord

of men# It is important to !nderstand the e"tent of the oppression of $omen to tr!ly appreciate

vario!s readins of the disempo$erment of female characters in =!therin /eihts# =omen9s

rihts barely e"isted and altho!h men claimed to treat them $ith Hlenity and ind!lence9, they$ere e"cl!ded absol!tely from any domestic a!thority# =omen, in the 'Eth and '(th cent!ry $ere

Hthere9 to manae the ho!sehold, bearchildren, be n!rses, mothers, $ives, lovers 5virinal pre1

marriae6, neihbo!rs, friends and teachers# Accordin to Ro!ssea!, the a!thor of the H/istory of

Se"!ality9 series, ;it $as the order of nat!re for $omen to obey<#

Modernism vs Postmodenism

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