Module 2. Values-Centered Criticism PDF

Values-Centered Theories Prof. Bryan Paul Espinosa Course Facilitator  CONTENTS Classical Moral Philosophical Neo-Classical LEARNING OUTCOMES defined and provided examples of key concepts in classical, moral philosophical, and neoclassical literary theories engage...

Values-Centered Theories Prof. Bryan Paul Espinosa Course Facilitator  CONTENTS Classical Moral Philosophical Neo-Classical LEARNING OUTCOMES defined and provided examples of key concepts in classical, moral philosophical, and neoclassical literary theories engaged in a class discussion where they apply classical literary theory to contemporary works, demonstrating the relevance of classical principles in a modern context; critically evaluated a literary text from a moral-philosophical perspective, providing a well-supported analysis of ethical choices and implications within the narrative  Classical literary theory refers to the foundational principles and ideas about literature that originated in ancient Greece and Rome. It encompasses the works of prominent philosophers, poets, and critics from classical antiquity. The two figures most central to classical literary theory are Plato and Aristotle. CLASSICAL LITERARY THEORY Key concepts Mimesis , often translated as "imitation" or "representation," refers to the act of portraying or imitating the external world through artistic expression, particularly in literature, drama, and other forms of art. The idea that literature is an imitation of reality, nature, or the ideal world. Plato, one of the earliest classical critics, argued that literature is a second-hand copy of the world of forms, and therefore inferior and potentially misleading. Aristotle, on the other hand, defended literature as a creative and realistic representation of human actions and emotions. CLASSICAL LITERARY THEORY Key concepts Catharsis (Aristotle). The idea that literature has the power to purge or purify the emotions of the audience, especially pity and fear. Aristotle coined this term in his Poetics, where he explained that tragedy aims to arouse these emotions and then release them through the plot, characters, and language of the drama.  Aristotle divides tragedy into six The first essential to creating a different parts, ranking them in good tragedy is that it should order from most important to least maintain unity of plot important as follows: (1) plot (mythos), (2) character (ethos), (3) thought (dianoia), (4) diction (lexis), (5) melody (melopoeia), and (6) spectacle (opsis). CLASSICAL LITERARY THEORY Key concepts Key Concepts of Aristotelian Tragic Theory Hamartia = tragic flaw > Hubris = extreme arrogance Nemesis = punishment Peripetia = reversal of fortune Anagnorisis = discovery of truth Pathos = emotional appeal to the audience Catharsis = purging of emotions of the audience CLASSICAL LITERARY THEORY Key concepts Dulce et Utile (Horace) Ars Poetica, a poem by the Roman poet Horace that lays out the rules and guidelines for writing poetry. Horace advises poets to follow the examples of the Greeks, to balance instruction (utile) and delight (dulce), to avoid extremes and inconsistencies, to use appropriate diction and style, and to revise and polish their work. CLASSICAL LITERARY THEORY Key concepts Sublime (Longinus) Longinus’s On the Sublime: A treatise by an unknown author, attributed to Longinus, that explores the nature and effects of the sublime in literature. The sublime is defined as a quality of greatness or excellence that (1) transcends the ordinary and (2) produces a strong emotional response in the reader or listener. Longinus identifies the sources of the sublime in the writer’s genius, passion, imagination, and rhetorical skill, and gives examples from various genres and authors. Works that achieved the Sublime What would you do if the person you loved so much, for whom you made numerous sacrifices, including betraying your family, ultimately betrayed you by falling in love with someone else and having two children with that person? Works that achieved the Sublime "Medea" is a tragedy written by the ancient Greek playwright Euripides. The play tells the story of Medea, a woman with a background in magic and a princess of Colchis, who betrays her family and homeland for the sake of her love for Jason, the hero of the Argonauts. The play explores themes of love, betrayal, revenge, and the consequences of unchecked passion. Works that achieved the Sublime Background: Medea helps Jason in obtaining the Golden Fleece and falls in love with him. She uses her magical powers to aid Jason, including killing her own brother, and they escape to Corinth. Works that achieved the Sublime Betrayal: Jason decides to marry Creon's daughter in Corinth, seeking political advantage. Medea feels abandoned and betrayed, as she sacrificed much for Jason. Works that achieved the Sublime Revenge: Enraged by Jason's betrayal, Medea plans a devastating revenge. She sends poisoned gifts to Creon's daughter, causing her death, and then kills her own two sons to spite Jason. Works that achieved the Sublime Tragedy and Conclusion: Medea's actions lead to a tragic and horrifying outcome, leaving Jason devastated. Medea escapes in a chariot sent by her grandfather, the sun god Helios, leaving Jason with the consequences of his actions. Other works that achieved the Sublime Sophocles’ Oedipus Rex, etc. Demosthenes’s orations Plato’s The Republic, etc. Sappho’s poems  Mimesis Dulce et Utile (Horace) Sublime (Longinus) Catharsis. 1. Balance between entertainment & instruction 2. Imitation of life 3. Purgation or emotional cleansing 4. Beyond the ordinary & strong feeling  Some Guide Questions in Classical Literary Theory 1. How does the work imitate life or nature? 2. Does the work conform to the structure (classical unities) and elements of tragedy (parts of tragedy—hubris, anagnorisis, etc & its elements-mythos, ethos, dianoia, etc.) and outlined by Aristotle? 3. How does the work evoke pity and fear in the audience? 4. In what ways does the work achieve emotional purgation or catharsis? 5. How are characters developed in the work? Are they consistent, and do their actions align with their natures? How do the characters contribute to the overall tragic experience? 6. How does the author use language and diction to convey meaning? Are there poetic elements that contribute to the aesthetic quality of the work?  CONTENTS Classical Moral Philosophical Neo-Classical 1. Classical (Greeks and Romans) Medieval Period 2. Medieval Period >> religious texts >> spiritual and divine 3. Neo-classical Hermeneutics >> science of interpretation (focused on interpreting the Bible) Imitation of Classical period >>follows classical ideals >> imposes rules that limits excessive style 4. Age of Reason/Enlightenment (Moral Philosophical) Neoclassicism in the arts is an aesthetic attitude based on the art of Greece and Rome in antiquity, which invokes harmony, clarity, restraint, universality, and idealism. Neoclassicism Neoclassicism refers to a broad tendency in literature and art enduring from the early seventeenth century until around 1750. It comprised a return to the classical models, literary styles, and values of ancient Greek and Roman authors. The neoclassicists reacted sharply against what they perceived to be the stylistic excess, superfluous ornamentation, and linguistic over-sophistication of some Renaissance writers. 25 Neoclassicism Unlike Renaissance critics, neoclassical thinkers were clear in their focus on classical values like objectivity, impersonality, rationality, decorum, balance, harmony, proportion, and moderation. Neoclassical writers strongly emphasized that creating literature was a rational and rule-based process, requiring hard work, skill, and study. They insisted on keeping poetry and prose separate, maintaining the purity of each genre, and establishing a hierarchy among genres. 26  Neoclassical Concepts Two of the concepts central to neoclassical literary theory and practice were “imitation” and “nature,” which were intimately related. Imitation has two senses in the neoclassical criticism ✓ In one sense, it refers to the external world and, primarily, of human action. This sense was a reaffirmation of the ideals of objectivity and impersonality. ✓ It also referred to the imitation of classical models, especially of Homer and Vergil. ✓ These two aspects of imitation were often identified with the concept of “Nature” 27 Neoclassicism The concept of Nature had a number of senses. ✓ In one sense, it referred to the harmonious and hierarchical order of the universe, including the various social and political hierarchies within the world. In this vast scheme of nature, everything had its proper and appointed place. ✓ It also referred to human nature: to what was central, timeless, and universal in human experience. ✓ “Nature” had a deep moral significance, comprehending the modes of action that were permissible and excluding certain actions as “unnatural”. 28  The connection between nature and imitation lies in the neoclassical belief that literature should imitate the observed order and structure found in both the natural world and classical models. By adhering to the principles of imitation, writers sought to reflect the harmonious and morally grounded aspects of nature, reinforcing the neoclassical emphasis on objectivity, impersonality, and adherence to established norms.  John Dryden Samuel Johnson termed Dryden “the father of English criticism,” He affirmed that modern English prose begins with Dryden’s Essay of Dramatic Poesy (1668). Dryden’s critical work was extensive, treating of various genres such as epic, tragedy, comedy and dramatic theory, satire, the relative virtues of ancient and modern writers, as well as the nature of poetry and translation. Dryden was also a poet, dramatist, and translator.  John Dryden Dryden’s Essay of Dramatic Poesy is written as a series of debates on drama. Theses debates are conducted by four speakers – Eugenius, Crites, Lisideius, and Neander. The speakers have conventionally been identified with four of Dryden’s contemporaries, with Neander (“new man”) representing Dryden himself. 31 Dryden Debate: The Moderns Vs. The Ancients The first issue of debate concerns the relationship of the Moderns with the Ancients: Should the moderns imitate the Ancients closely Can they surpass them? One man argues that the moderns are but ill copiers of the Ancients. our merits are their merits; our faults are our own. Another says we have improved art, because we have two sources to imitate: Nature and the Ancients, while they had only nature. All agree that the Ancients are to be honored and heeded. 32 Neoclassical Approach: These questions often revolve around elements such as structure, style, morality, and adherence to classical ideals. A. Does the work demonstrate an imitation of classical models, such as those found in ancient Greek and Roman literature? B. Does the work adhere to the neoclassical principle of unity, with a focus on a single, well-defined plot, occurring in a specific time and place? C. Is the language of the work precise and clear, avoiding unnecessary ornamentation and adhering to the neoclassical preference for straightforward expression? D. Does the work objectively represent human actions, avoiding excessive personal bias or emotional expression? MORAL PHILOSOPHICAL LITERARY THEORY This literary criticism style approaches literature based on its ethical merits. Moral- philosophical critics evaluate literary works based on the moral statements and judgments the characters and author express throughout the literary text. MORAL PHILOSOPHICAL LITERARY THEORY Moral-philosophical criticism operates under the assumption that literature performs a certain ethical or moral role in society. With this in mind, moral-philosophical criticism analyzes texts based on their ethical merits and is typically written within the framework of a prevailing school of thought.  MORAL PHILOSOPHICAL LITERARY THEORY There are two levels that concern the Philosophical Approach. The first level involves the evaluation of a work and its ethical content. Philosophical criticism always assumes the seriousness of a work as a statement of values about life. The philosophical critic judges a work on the basis of his or her articulated philosophy of life. Assuming that literature can have a good effect on human beings by increasing their compassion and moral sensitivity, this form of criticism acknowledges that works can have negative effects on people as well MORAL PHILOSOPHICAL LITERARY THEORY The second level of the Philosophical Approach deals with how a work reflects the human experience in the world and in the universe. Who are we? What are we searching for as we live our lives? How are we impacted by good and evil? These fundamental questions lead our philosophical analysis of any work. Philosophical Approach: This approach focuses on themes, view of the world, moral statements, author’s philosophy, etc. A. What view of life does the story present? Which character best articulates this viewpoint? B. According to this work’s view of life, what is mankind’s relationship to God? To the universe? C. What moral statement, if any, does this story make? Is it explicit or implicit? D. What is the author’s attitude toward his world? Toward fate? Toward God? E. What is the author’s conception of good and evil? F. What does the work say about the nature of good or evil? G. What does the work say about human nature? GROUP WORK Create a story draft with Aristotelian qualities. Identify the Aristotelian qualities in your story. Hamartia = tragic flaw > Hubris = extreme arrogance Nemesis = punishment Peripetia = reversal of fortune Anagnorisis = discovery of truth Pathos = emotional appeal to the audience Catharsis = purging of emotions of the audience https://www.masterclass.com/articles/literary-criticism Which of the following is the focus of medieval literary period? a. secular and individualistic b. aesthetic and social c. mundane and symbolic d. divine and spiritual Which characterized hermeneutics during the Middle Ages? a. Interpretation became significantly important in the field of religion. b. Invention of literary forms gave rise to the science of interpretation in secular texts. c. Meaning became terribly difficult in literature. d. Philosophical ideas were so abstract that people had to invent the science of interpretation. Which is known as the science of interpretation? a. hermeneutics b. textual exegesis c. literary appreciation d. documentary analysis Which is characterized by a re-examination and imitation of the classical models, literary styles, and values of the ancient Greek and Roman authors? a. neoclassicism b. neo-platonism c. renaissance d. romanticism Which of the following questions is used for a philosophical approach in literary criticism? a. How is the work’s structure unified? b. According to this work’s view of life, what is mankind’s relationship with God? c. What is the effect of the plot, and what parts specifically produce that effect? d. What do the characters’ emotions and behaviors reveal about their psychological states? Which of the following approaches looks into what the work says about the nature of good and evil? a. Philosophical criticism b. Deconstructionism c. Biographical criticism d. Mythological criticism