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Illustrations | |
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Preface | |
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Getting Started: The Precritical Response | |
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Setting | |
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Plot | |
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Character | |
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Structure | |
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Style | |
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Atmosphere | |
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Theme | |
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First Things First: Texual Scholarship, Genres, And Source Study | |
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First, a Note on the Traditional Approaches | |
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Three Foundational Questions | |
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Textual Scholarship: Do We Have an Accurate Version of What We Are Studying? | |
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General Observations | |
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Text Study in Practice | |
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Matters of Genre: What Are We Dealing With? | |
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An Overview of Genre | |
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Genre Characteristics in Practice | |
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Source Study: Did Earlier Writings Help This Work Come into Being? | |
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Historical And Biographical Approaches | |
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General Observations | |
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Historical and Biographical Approaches in Practice | |
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""To His Coy Mistress"" | |
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Hamlet | |
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Huckleberry Finn | |
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""Young Goodman Brown"" | |
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""Everyday Use"" | |
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Frankenstein | |
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Moral And Philosophical Approaches | |
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General Observations | |
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Moral and Philosophical Approaches in Practice | |
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""To His Coy Mistress"" | |
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Hamlet | |
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Huckleberry Finn | |
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""Young Goodman Brown"" | |
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""Everyday Use"" | |
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Frankenstein | |
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The Formalist Approach | |
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Reading a Poem: An Introduction to the Formalist Approach | |
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The Process of Formalist Analysis: Making the Close Reader | |
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A Brief History of Formalist Criticism | |
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The Course of a Half Century | |
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Backgrounds of Formalist Theory | |
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The New Criticism | |
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Constants of the Formalist Approach: Some Key Concepts, Terms, and Devices | |
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Form and Organic Form | |
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Texture, Image, Symbol | |
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Fallacies | |
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Point of View | |
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The Speaker's Voice | |
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Tension, Irony, Paradox | |
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The Formalist Approach in Practice | |
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Word, Image, and Theme: Space-Time Metaphors in ""To His Coy Mistress"" | |
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The Dark, the Light, and the Pink: Ambiguity as Form in ""Young Goodman Brown"" | |
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Virtues and Vices | |
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Symbol or Allegory? | |
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Loss upon Loss | |
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Romance and Reality, Land and River: The Journey as Repetitive Form in Huckleberry Finn | |
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Dialectic as Form: The Trap Metaphor in Hamlet | |
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The Trap Imagery | |
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The Cosmological Trap | |
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""Seeming"" and ""Being"" | |
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""Seeing"" and ""Knowing"" | |
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Irony and Narrative Voice: A Formalist Approach to ""Everyday Use"" | |
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Frankenstein: A Formalist Reading, with an Emphasis on Exponents | |
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Limitations of the Formalist Approach | |
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The Psychological Approach: Freud | |
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Aims and Principles | |
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Abuses and Misunderstandings of the Psychological Approach | |
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Freud's Theories | |
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The Psychological Approach in Practice | |
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Hamlet: The Oedipus Complex | |
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Rebellion Against the Father in Huckleberry Finn | |
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Prometheus Manque The Monster Unbound | |
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""Young Goodman Brown"": Id Versus Superego | |
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Death Wish in Poe's Fiction | |
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Love and Death in Blake's ""Sick Rose"" | |
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Sexual Imagery in ""To His Coy Mistress"" | |
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Morality over the Pleasure Principle in ""Everyday Use"" | |
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Other Possibilities and Limitations of the Psychological Approach | |
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Mythological And Archetypal Approaches | |
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Definitions and Misconceptions | |
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Some Examples of Archetypes | |
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Images | |
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Archetypal Motifs or Patterns | |
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Archetypes as Genres | |
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Myth Criticism in Practice | |
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Anthropology and Its Uses | |
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The Sacrificial Hero: Hamlet | |
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Archetypes of Time and Immortality: ""To His Coy Mistress"" | |
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Jungian Psychology and Its Archetypal Insights | |
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Some Special Archetypes: Shadow, Persona, and Anima | |
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""Young Goodman Brown"": A Failure of Individuation | |
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Creature or Creator: Who Is the Real Monster in Frankenstein? | |
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Syntheses of Jung and Anthropology | |
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Myth Criticism and the American Dream: Huckleberry Finn as the American Adam | |
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""Everyday Use"": The Great [Grand]Mother | |
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Limitations of Myth Criticism | |
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Feminisms And Gender Studies | |
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Feminisms and Feminist Literary Criticism: Definitions | |
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Woman: Created or Constructed? | |
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Feminism and Psychoanalysis | |
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Multicultural Feminisms | |
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Marxist Feminism | |
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Feminist Film Studies | |
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Gender Studies | |
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Feminisms in Practice | |
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The Marble Vault: The Mistress in ""To His Coy Mistress"" | |
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Frailty, Thy Name Is Hamlet: Hamlet and Women | |
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""The Workshop of Filthy Creation"": Men and Women in Frankenstein | |
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Mary and Percy, Author and Editor | |
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Masculinity and Femininity in the Frankenstein Family | |
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""I Am Thy Creature . . ."" | |
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Men, Women, and the Loss of Faith in ""Young Goodman Brown"" | |
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Women and ""Sivilization"" in Huckleberry Finn | |
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""In Real Life"": Recovering the Feminine Past in ""Everyday Use"" | |
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The Future of Feminist Literary Studies and Gender Studies: Some Problems and Limitations | |
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Cultural Studies | |
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What Is (or Are) ""Cultural Studies""? | |
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Five Types of Cultural Studies | |
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British Cultural Materialism | |
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New Historicism | |
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American Multiculturalism | |
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African American Writers | |
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Latina/o Writers | |
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American Indian Literatures | |
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Asian American Writers | |
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Postmodernism and Popular Culture | |
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Postmodernism | |
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Popular Culture | |
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Postcolonial Studies | |
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Cultural Studies in Practice | |
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Two Characters in Hamlet: Marginalization with a Vengeance | |
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""To His Coy Mistress"": Implied Culture Versus Historical Fact | |
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From Paradise Lost to Frank-N-Furter: The Creature Lives! | |
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Revolutionary Births | |
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The Frankenpheme in Popular Culture: Fiction, Drama, Film, Television | |
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""The Lore of Fiends"": Hawthorne and His Market | |
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""Telling the Truth, Mainly"": Tricksterism in Huckleberry Finn | |
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Cultures in Conflict: A Story Looks at Cultural Change | |
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Limitations of Cultural Studies | |
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The Play Of Meaning(S): Reader-Response Criticism, Dialogics, And Structuralism And Poststructuralism, Including Deconstruction | |
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Reader-Response Criticism | |
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Dialogics | |
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Structuralism and Poststructuralism, Including Deconstruction | |
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Structuralism: Context and Definition | |
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The Linguistic Model | |
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Russian Formalism: Extending Saussure | |
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Structuralism, Levi Strauss, and Semiotics | |
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French Structuralism: Codes and Decoding | |
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British and American Interpreters | |
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Poststructuralism: Deconstruction | |
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Epilogue | |
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Andrew Marvell, ""To His Coy Mistress"" | |
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Nathaniel Hawthorne, ""Young Goodman Brown"" | |
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Alice Walker, ""Everyday Use: for your grandmama"" | |
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Index | |