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LITERATURE > CRITICAL APPROACHES TO LITERATURE > Flashcards

CRITICAL APPROACHES TO LITERATURE Flashcards

1
Q

these are different perspectives or approaches we consider when looking at a piece of literature

A

CRITICAL APPROACHES TO LITERATURE

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2
Q

LITERARY THEORY is also called what

A

CRITICAL THEORY

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3
Q

body of ideas and methods used in the practical reading of literature

A

LITERARY THEORY

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4
Q

tools by which one attempts to understand literature

A

LITERARY THEORY

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5
Q

principles derived from internal analysis of literary text that can be applied in multiple interpretative situations

A

LITERARY THEORY

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6
Q

helps us to understand what is important in the text such as structure, context, content, and how it manipulates the reader

A

LITERARY CRITICISM

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7
Q

try to become a _____ rather than an inflexible supporter of one approach

A

PLURALIST

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8
Q

enumerate the 7 CRITICAL/LITERARY APPROACHES

A 
FORMALISM and NEW CRITICISM
STRUCTURALISM
ARCHETYPAL CRITICISM
DECONSTRUCTION
MARXISM
FEMINISM
POSTCOLONIALISM
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9
Q

a literary text exists independent of any particular reader and, in a sense, has a fixed meaning

A

FORMALISM and NEW CRITICISM

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10
Q

an interpretative approach that emphasizes literary form and the study of the literary devices within the text

A

FORMALISM and NEW CRITICISM

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11
Q

ignores the author’s biography and focuses only on the interaction of literary elements within the text

A

FORMALISM and NEW CRITICISM

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12
Q

this criticism arose in opposition to biographical or vaguely impressionistic approaches

A

NEW CRITICISM

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13
Q

this criticism sought to establish literary studies as an objective

A

FORMALISM and NEW CRITICISM

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14
Q

this criticism’s desire to reveal organic unity (all the parts contribute to the overall meaning) in complex texts may be historically determined, reflective of early 20th century critics seeking a lost order or in conflict with an increasingly fragmented society

A

FORMALISM and NEW CRITICISM

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15
Q

a key term of FORMALISM that is defined by equating the meaning of a poem with the author’s intentions

A

INTENTIONAL FALLACY

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16
Q

a key term of FORMALISM that is defined by confusing the meaning of a text with how it makes the reader feel; a reader’s emotional response to a text generally does not produce a reliable interpretation

A

AFFECTIVE FALLACY

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17
Q

a key term of FORMALISM that is defined by assuming that an interpretation of a literary work could consist of a detailed summary of paraphrase

A

HERESY OF PARAPHRASE

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18
Q

a key term of FORMALISM that is defined by a close and detailed analysis of the text itself to arrive at an interpretation without referring to historical, authorial, or cultural concerns

A

CLOSE READING

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19
Q

a key term of FORMALISM that is defined by a literary language, partly by calling attention to itself as language, estranged the reader from the familiar and made fresh the experience of daily life

A

DEFAMILIARIZATION

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20
Q

in this criticism, texts possess meaning in and of themselves; therefore, analyses should emphasize intrinsic meaning over extrinsic meaning (verbal sense over significance in E.D. Hirsch’s view)

A

FORMALISM and NEW CRITICISM

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21
Q

in this criticism, the best readers are those who look most closely at the text and are familiar with literary conventions and have an ample command of the language

A

FORMALISM and NEW CRITICISM

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22
Q

in this criticism, meaning within the text is context-bound; this means that readers must be ready to show how the parts of the text relate to form a whole

A

FORMALISM and NEW CRITICISM

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23
Q

in this criticism, the test of excellence in literature: the extent to which the work manifests organic unity

A

FORMALISM and NEW CRITICISM

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24
Q

in this criticism, the best interpretations are those which seek out ambiguities in the text and then resolve these ambiguities as a part of demonstrating the organic unity of the text

A

FORMALISM and NEW CRITICISM

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25
Q

this criticism is done by:
o close reading of texts
o this includes paying attention to semantic
tensions the complicate meaning
o at the end though, these ambiguities must be
resolved
o learn and apply the appropriate literary
conventions that apply in any discourse

A

FORMALISM and NEW CRITICISM

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26
Q

some critics of this approach have argued that a its commitment to revealing organic unity of a work blinds him or her to elements in the text that do not contribute to this unity

A

FORMALISM and NEW CRITICISM

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27
Q

some critics of this approach have argued that in dismissing the importance of history, or the response of readers as irrelevant to an understanding of the work

A

FORMALISM and NEW CRITICISM

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28
Q

___________ skills leading to a deeper appreciation of the multiple uses of language that a text uses

A

CLOSE READING

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29
Q

the guide questions of this criticism are:
o does this work follow a traditional form or chart its own development?
o how are the events of the plot recounted i.e., in sequential fashion?
o how does the work’s organization affect its meaning?
o what is the effect of using the literary device?
o what recurrences of words, images or sounds do you notice?
o how does the narrator’s point of view shape the meaning?
o what visual patterns do you find in this text?

A

FORMALISM and NEW CRITICISM

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30
Q

this criticism rejects mimetic theory of language (in which discussion of language must include reference in real world) for structural view of language

A

STRUCTURALISM

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31
Q

this criticism says that language is a system (LA LANGUE) that is prior to any linguistic utterance (PAROLE)

A

STRUCTURALISM

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32
Q

according to STRUCTURALISM, language is a system (__________) that is prior to any linguistic utterance (__________)

A

LA LANGUE;

PAROLE

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33
Q

it is a theory developed in FRANCE between 1950 and 1960

A

STRUCTURALISM

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34
Q

this criticism begins with the work of Ferdinand de Saussure on linguistics, along with that of the Prague and Moscow schools

A

STRUCTURALISM

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35
Q

this criticism analyzes any phenomena about the world mostly contrasting elementary structure in a system of binary opposition (a pair of opposite concepts)

A

STRUCTURALISM

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36
Q

this criticism is a description and perception of the structure

A

STRUCTURALISM

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37
Q

this criticism is a science that seeks to understand how systems work and looks for patterns that underlie human behavior, experience and creation, not just structures in a physical sense

A

STRUCTURALISM

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38
Q

this criticism comes from the human mind as it works to make sense of the world

A

STRUCTURALISM

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39
Q

this criticism relates literary texts to a larger structure, which may be genre, intertextual connections, narrative structure, or recurrent patterns (like how the structures of a text are resolved)

A

STRUCTURALISM

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40
Q

this criticism states that there must be a structure in every text to interpret it

A

STRUCTURALISM

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41
Q

in this criticism, an example would be West Side Story and Romeo and Juliet structures
o “Boy + Girl“.
o “Boy’s Group - Girl’s Group” or “Opposing forces“.
o conflict is resolved by their death

A

STRUCTURALISM

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42
Q

in this criticism, they are not concerned with producing a “correct” interpretation. they are more concerned with how meaning is generated or how a text fits in within a system of possible discursive strategies

A

STRUCTURALISM

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43
Q

in this criticism, as with New Criticism, this is less concerned with historical context

A

STRUCTURALISM

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44
Q

this criticism treats literature almost as if it were an organized, scientific body of knowledge

A

STRUCTURALISM

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45
Q

in this criticism, to know something, you need to understand the underlying system (structure) that makes meaning possible. this is true for language as well as any other signifying system

A

STRUCTURALISM

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46
Q

in this criticism, we would assume literature contains a structure from which individual texts emerge. very often we would be less concerned with the individual text on its own terms and more interested in the ways in which it participates in a larger system

A

STRUCTURALISM

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47
Q

in this criticism that focuses on the system rather than individual text, sometimes we lose sense of the uniqueness of a text (not a problem in New Criticism)

A

STRUCTURALISM

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48
Q

this criticism forces us to think about how we make sense of things; it gives us a vocabulary that helps us describe the operations we make

A

STRUCTURALISM

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49
Q

the guide questions of this criticism are:
o what is the text’s genre or conventions?
o is there a use of binary opposition?
o what is the plot structure?

A

STRUCTURALISM

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50
Q

etymology of ARCHETYPE

A

greek: “arche” meaning beginning;

“typos” meaning stamp or imprint

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51
Q

refers to any recurring image, character type, plot formula, or pattern of action

A

ARCHETYPE

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52
Q

is a kind of model, different versions of which recur throughout the history of human production: myth, literature, dreams, religions, and rituals of social behavior

A

ARCHETYPE

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53
Q

in order to be an ________, an image, character type, or other narrative element must serve as a structural model that generates numerous different versions of itself

A

ARCHETYPE

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54
Q

in this theory, the structural principle underlying the Western literary traditions is seeked

A

NORTHROP FRYE’S THEORY OF MYTHS

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55
Q

in ARCHETYPAL criticism, this refers to the four narrative patterns that structure myth

A

MYTHOI

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56
Q

these reveal the structural principles underlying literary genres: specifically, comedy, romance, tragedy, and irony/satire

A

MYTHOI

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57
Q

in this criticism, human beings project their narrative imaginations in two fundamental ways: an ideal word and a real world

A

ARCHETYPAL

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58
Q

in this criticism, the structural principles underlying literary genres: specifically, comedy, romance, tragedy, and irony/satire are revealed

A

ARCHETYPAL

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59
Q

in ARCHETYPAL criticism, human beings project their narrative imaginations in two fundamental ways which are what

A

> in representation of an ideal world (the world of innocence, plenitude, and fulfillment)
in representations of the real world (the world of experience, uncertainty, and failure, of human folly, excess, and incongruity

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60
Q

enumerate the four MYTHOI by NORTHROP FRYE

A

MYTHOS OF SUMMER
MYTHOS OF WINTER
MYTHOS OF AUTUMN
MYTHOS OF SPRING

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61
Q

this mythos is associated with the genre of romance

A

MYTHOS OF SUMMER

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62
Q

this mythos is a representation of the ideal world of adventures, of successful quests in which brave, virtuous heroes and beautiful maidens overcome villainous threats to the achievement of their goals

A

MYTHOS OF SUMMER

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63
Q

this mythos is associated with the double genre of irony/satire

A

MYTHOS OF WINTER

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64
Q

in this mythos, irony is the real world seen through a tragic lens; protagonists are defeated by the puzzling complexities of life

A

MYTHOS OF WINTER

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65
Q

in this mythos, satire is the real world seen through a comic lens; human frailty is mocked

A

MYTHOS OF WINTER

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66
Q

in MYTHOS OF WINTER, ____ is the real world seen through a tragic lens; protagonists are defeated by the puzzling complexities of life; and ____ is the real world seen through a comic lens; human frailty is mocked

A

IRONY; SATIRE

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67
Q

this mythos is associated with tragedy and involves a movement from the ideal world to real world, from innocence to experience

A

MYTHOS OF AUTUMN

68
Q

in this mythos, a hero with the potential to be superior falls from his romantic height into the real world, the world of loss and defeat, from which he can never rise

A

MYTHOS OF AUTUMN

69
Q

this mythos is associated with the genre of comedy and involves a movement from the real world to the ideal

A

MYTHOS OF SPRING

70
Q

in this mythos, a protagonist caught in a web of threatening, real-world difficulties manages to overcome the circumstances that have thwarted him and attain happiness

A

MYTHOS OF SPRING

71
Q

these four genres taken together form a kind of master plot, a key to understanding narrative as a whole

A

MYTHOI

72
Q

in this criticism, a traditional quest has four structural components, taken together spell-out the structure of total quest-myth

A

ARCHETYPAL

73
Q

a traditional quest has four structural components, taken together spell-out the structure of total quest-myth:

A

CONFLICT
CATASTROPHE
DISORDER AND CONFUSION
TRIUMPH

74
Q

this structural component of myth is the basis of romance

A

CONFLICT

75
Q

this structural component of myth is the basis of tragedy

A

CATASTROPHE

76
Q

this structural component of myth is the basis of irony and satire

A

DISORDER AND CONFUSION

77
Q

this structural component of myth is the basis of comedy

A

TRIUMPH

78
Q

in this criticism, we also analyze the structure of inherited feelings, thoughts, and memories that all human beings possess

A

ARCHETYPAL

79
Q

the structure of inherited feelings, thoughts, and memories that all human beings possess

A

CARL JUNG’S COLLECTIVE UNCONSCIOUS

80
Q

according to jung, the presence of _______ connect and unify the major symbol systems of the world’s myths, religions, and literatures

A

ARCHETYPES

81
Q

in this criticism, literature does not imitate the world but rather the “total dream of human kind”

A

ARCHETYPAL

82
Q

enumerate the 12 JUNGIAN ARCHETYPES

A 
THE LOVER
THE HERO
THE MAGICIAN
THE OUTLAW
THE EXPLORER
THE SAGE
THE INNOCENT
THE CREATOR
THE RULER
THE CAREGIVER
THE EVERYMAN
THE JESTER
83
Q

this jungian archetype is the romantic lead who’s guided by the heart

A

THE LOVER

84
Q

this jungian archetype is the protagonist that rises to a challenge

A

THE HERO

85
Q

this jungian archetype is a powerful character who understands and harnesses the powers of the universe

A

THE MAGICIAN

86
Q

this jungian archetype is a rebellious character who does not conform to society’s demands

A

THE OUTLAW

87
Q

this jungian archetype is a character driven to go beyond the status quo and explore the unknown

A

THE EXPLORER

88
Q

this jungian archetype is a character who embodies wisdom and knowledge; a mentor

A

THE SAGE

89
Q

this jungian archetype is a character pure of morals and intentions

A

THE INNOCENT

90
Q

this jungian archetype is a visionary character who creates something significant throughout the narrative

A

THE CREATOR

91
Q

this jungian archetype is a character who possesses power over others (emotionally or legally)

A

THE RULER

92
Q

this jungian archetype is a character who often makes sacrifices for the benefit of others

A

THE CAREGIVER

93
Q

this jungian archetype is an average character, relatable in daily life

A

THE EVERYMAN

94
Q

this jungian archetype is a character providing humor or comic relief within the narrative, but who may also imbue wisdom

A

THE JESTER

95
Q

the guide questions of this criticism are:
o using Frye’s framework, how should the text be classified in terms of its genre?
o how do the characters in text mirror the archetypal figures?
o what purpose do the narrative patterns and archetypal characters serve in the text?

A

ARCHETYPAL

96
Q

this criticism was invented by JACQUES DERRIDA (1930-2004)

A

DECONSTRUCTION

97
Q

according to this idea by DERRIDA, no ultimate reality or end to all references from one sign to another; no unifying element to all things

A

TRANSCENDENTAL SIGNIFIED

98
Q

in this criticism, humankind is LOGOCENTRIC—words and language as fundamental expression of an external reality

A

DECONSTRUCTION

99
Q

in DECONSTRUCTION criticism, humankind is __________—words and language as fundamental expression of an external reality

A

LOGOCENTRIC

100
Q

some critics used the terms ___________ and deconstruction interchangeably

A

post-structuralism

101
Q

this criticism or approach employs more of a reading strategy rather than a philosophy

A

DECONSTRUCTION

102
Q

while structuralism is more focused on language, deconstruction is more focused on what?

A

meaning

103
Q

this criticism reveals the ‘grammar’ behind form and meaning

A

DECONSTRUCTION

104
Q

this criticism treated works of art not as the harmonious fusion of literal and figurative meanings but as instances of the intractable conflicts between meanings of different types

A

DECONSTRUCTION

105
Q

this criticism generally examined the individual work not as a self-contained artifact but as a product of relations with other texts or discourses, literary and non-literary

A

DECONSTRUCTION

106
Q

in describing this criticism, its inventor famously observed that “there is nothing outside the text.” that is to say, all of the references used to interpret a text are themselves texts, even the “text” of reality as a reader knows it

A

DECONSTRUCTION

107
Q

in this criticism, there is no truly objective, non-textual reference from which interpretation can begin

A

DECONSTRUCTION

108
Q

this criticism can be described as an effort to understand a text through its relationships to various contexts

A

DECONSTRUCTION

109
Q

this is the most important part of deconstruction

A

BINARY OPPOSITION

110
Q

this is a dichotomy that is actually an evaluative hierarchy; it underlies human acts and practices

A

BINARY OPPOSITION

111
Q

in this criticism, there is a dominant and oppressed or non-dominant of the two parts of binary oppositions

A

DECONSTRUCTION

112
Q

in STRUCTURALISM, the texts are static and unchanging

in DECONSTRUCTION, the texts are what

A

fluid, dynamic entities that are given new life with repeated reading through interactions with other texts

113
Q

in STRUCTURALISM, the analysis through codes and rules establishes the possibility of objective knowledge
in DECONSTRUCTION, the meaning is what

A

the meaning is essentially undecidable, what a text means and how it means simply cannot be determined

114
Q

in STRUCTURALISM, we are looking at the structure of a text including its convention
in DECONSTRUCTION, we are looking for what

A

for the place where text contradicts

115
Q

the guide questions of this criticism are:
o what is the primary binary opposition in the text?
o what associated binary oppositions do you find?
o which terms in the oppositions are privileged?
o what elements in the work support the privileged terms?
o what statement of values or belief emerges from the privileged terms?

A

DECONSTRUCTION

116
Q

the guide questions of this criticism are:
o what elements in the text contradict the hierarchies as presented?
o where is the statement of values or belief contradicted by characters, events, or statements in the text?
o are the privileged terms inconsistent? do they present conflicting meanings?
o what associations do you have with the terms that complicate their opposition? that is, what associations keep you from accepting that the terms are all good or all bad?

A

DECONSTRUCTION

117
Q

the guide questions of this criticism are:
o what new possibilities of understanding emerge when you reverse the binary oppositions?
o how does the reversal of oppositions tear down the intended statement of meaning?
o what contradictions of language, image, or event do you notice?
o are there any significant omissions of information?

A

DECONSTRUCTION

118
Q

the guide questions of this criticism are:
o can you identify any irreconcilable views offered as coherent systems?
o what is left unnoticed or unexplained?
o how would a focus on different binary oppositions lead to a different interpretation?
o where are the figures of speech so ambiguous that they suggest several (and perhaps contradictory) meanings?
o what new vision of the situation presented by the text emerges for you?

A

DECONSTRUCTION

119
Q

the inventor of this criticism, KARL MARX, believed that the means of production (i.e., the basis of power in society) should be placed in the hands of those who actually operated them

A

MARXISM

120
Q

who believed that the means of production (i.e., the basis of power in society) should be placed in the hands of those who actually operated them

A

KARL MARX

121
Q

who wrote that economic and political revolutions around the world would eventually place power in the hands of the masses, the laborers

A

KARL MARX

122
Q

in this criticism, the socioeconomic system not only determines who has the most power, but more so, how we are educated, and it influences our religious beliefs, which together control to a great degree how we perceive ourselves and the world

A

MARXISM

123
Q

the goal of this criticism is to achieve a worldwide classless society by exposing the oppressive ideologies (belief systems) that keep the nations of this planet bound within socioeconomic systems in which a relatively small number of people are extremely wealthy while most people are struggling, or even failing to get by

A

MARXISM

124
Q

this criticism asserts that literature is a reflection of culture, and that culture can be influenced by literature; it believes that literature can instigate revolution

A

MARXISM

125
Q

in this criticism, readers look at what oppressive socioeconomic ideologies influence a character’s behavior and looks at how a literary work reinforces or opposes these ideologies

A

MARXISM

126
Q

in MARXIST criticism, this is the belief that our value as human beings is directly related to class to which we belong: the higher our social class, the higher our natural, or inborn superiority

A

CLASSISM

127
Q

in MARXIST criticism, this is a system in which everything—every object, every activity, every person—can be defined in terms of its worth in money, its “going rate” on a specific market

A

CAPITALISM

128
Q

in MARXIST criticism, capitalism believes that ___________ among individuals is the best way to promote a strong society because this ensures that the most capable, most intelligent people will rise to the top

A

COMPETITION

129
Q

in MARXIST criticism, this is relating things and people in terms of how much money it is worth and what social status it gives to the owner of that object

A

COMMODIFICATION

130
Q

in MARXIST criticism, this is an ideology in which an individual strikes out alone in pursuit of a goal not easily achieved, putting self-interest above the needs of the community

A

RUGGED INDIVIDUALISM

131
Q

this criticism or theory observes that religion too often plays a role in oppressing the poor

A

MARXISM

132
Q

the guide questions of this criticism are:
o does the work reinforce (intentionally or not) capitalist or classist values?
o how might the work be seen as a critique of capitalism or classism? that is, in what ways does the text reveal, and invite us to condemn oppressive socioeconomic forces (including repressive ideologies)?
o does the work in some ways support a Marxist agenda but in other ways (perhaps unintentionally) support a capitalist or classist agenda? in other words, is the work ideologically conflicted?

A

MARXISM

133
Q 
the guide questions of this criticism are:
o	how does the literary work reflect (intentionally or not) the socioeconomic conditions of the time in which it was written and/or the time in which it is set, and what do those conditions reveal about the history of class struggle?
o	how might the work can be seen as a critique of organized religion? that is, how does religion function in the text to keep a character/s from realizing and resisting socioeconomic oppression?
A

MARXISM

134
Q

this criticism asks us to examine, the ways in which our personal identity is formed by our culture’s definition of what it means to be a man and a woman

A

FEMINISM

135
Q

in this criticism, our experience of both the family and the socioeconomic system in which we live depends to a large extent on our sex

A

FEMINISM

136
Q

according to feminist anthropologists such as _________, the subordination of women to men originated in early societies in which women were used as tokens of exchange between clans

A

GAYLE RUBIN

137
Q

the subordination of women to men originated in early societies in which women were used as what

A

tokens of exchange between clans

138
Q

for this criticism, whatever its origin – nature or society – this situation of gender inequality is sustained by culture

A

FEMINISM

139
Q

this criticism begins with the question: do the characters conform to patriarchal gender roles? or more specifically with the question: are the female characters depicted according to patriarchal stereotypes of women?

A

FEMINISM

140
Q

this criticism is concerned with the role, position, and influence of women in a literary text

A

FEMINISM

141
Q

this criticism asserts that most “literature” throughout time has been written by men, for men

A

FEMINISM

142
Q

this criticism examines the way that the female consciousness is depicted by both male and female writers

A

FEMINISM

143
Q

in FEMINIST criticism, this is any society in which men hold all or most of the power. men are given power by promoting traditional gender roles and anyone who deviates from the traditional gender roles are considered unnatural, unhealthy, or even immoral

A

PATRIARCHY

144
Q

in FEMINIST criticism, these define men as naturally rational, strong, protective, and decisive while women are defined as emotional (irrational for patriarchy), weak, nurturing, and submissive

A

TRADITIONAL GENDER ROLES

145
Q

in FEMINIST criticism, these are produced by patriarchy and have been used to justify the many inequities which still occur in our world today

A

TRADITIONAL GENDER ROLES

146
Q

in FEMINIST criticism, this is when women are not viewed as independent human beings with their own goals, needs, and desires; they are valued only in terms of their usefulness to patriarchal men

A

THE OBJECTIFICATION OF WOMEN

147
Q

in FEMINIST criticism, this is the belief that women are innately, or by nature, inferior to men: less intelligent, less rational, less courageous, and so forth

A

SEXISM

148
Q

in FEMINIST criticism, this is a Victorian belief that idealized what it called “true woman”

A

THE “CULT OF ‘TRUE WOMANHOOD’”

149
Q

in FEMINIST criticism, this is when the “true woman” fulfills her patriarchal gender role in every way, and was defined as fragile, submissive, and sexually pure

A

THE “CULT OF ‘TRUE WOMANHOOD’”

150
Q

the guide questions of this criticism are:
o how are women’s lives portrayed in the work?
o is the form and content of the work influenced by the writer’s gender?
o how do male and female characters relate to one another? are these relationships sources of conflict? are these conflicts resolved?
o does the work challenge or affirm traditional views of women?
o how do the images of women in the story reflect patriarchal social forces that have impeded women’s efforts to achieve full equality with men?

A

FEMINISM

151
Q

the guide questions of this criticism are:
o what marital expectations are imposed on the characters? what effect do these expectations have?
o what behavioral expectations are imposed on the characters? what effect do these expectations have?
o if a female character were male, how would the story be different and vice versa?
o how does the marital status of a character affect her decisions or happiness?

A

FEMINISM

152
Q

this criticism emerged in an attempt to understand people from different cultures in terms of an important experience they had in common: colonial domination by a superior European military force

A

POSTCOLONIALISM

153
Q

this word refers to the experience of conquered peoples—not only those colonized by the British Empire, but also native populations subjugated by white settlers and governed today by the majority culture that surrounds them

A

POSTCOLONIAL

154
Q

this refers to literary works written both by colonized or formerly colonized populations and by members of the colonizing (white) culture in colonized or formerly colonized nations

A

POSTCOLONIAL LITERATURE

155
Q

as a domain within literary studies, postcolonialism is both what?

A

> a subject matter
“analyzes literature produced by cultures or populations that developed in response to colonial domination, from the first point of contact to the present”
and a theoretical framework
“seeks to understand the operations (politically, socially, culturally, and psychologically) of colonialist and anticolonialist ideologies”

156
Q

in POSTCOLONIALIST criticism, this is based on the colonizer’s belief in their own superiority over the colonized, i.e. the colonizers were civilized, the colonized savages; colonizers believed their entire culture was more highly advanced, thus the religions, customs, codes of behavior of the colonized were ignored or swept aside

A

COLONIALIST IDEOLOGIES

157
Q

a colonialist ideology by the practice of judging those who are different as inferior, as somehow less human

A

OTHERING

158
Q

colonialist ideologies create social hierarchies and ___________ are those who occupy the bottom of the social ladder whether their inferior status is based on race, class, gender, religion, sexual orientation, ethnicity, or any other cultural factors

A

SUBALTERNS

159
Q

in POSTCOLONIALIST criticism, they are subalterns who internalize or “buy into” the colonialist belief that those different from a society’s dominant culture are inferior

A

THE COLONIAL SUBJECTS

160
Q

in POSTCOLONIALIST criticism, they have a COLONIZED CONSCIOUSNESS – whether the dominant culture in question is that of foreign power or that of their own country

A

THE COLONIAL SUBJECTS

161
Q

a colonial subject mentality that is the imitation by a subaltern of the dress, speech, behavior, or lifestyle of members of the dominant culture

A

MIMICRY

162
Q

a colonial subject mentality by the feeling of having no stable cultural identity—no real home in any culture—that occurs to people who do not belong to the dominant culture and have rejected their own culture as inferior

A

UNHOMELINESS

163
Q

in POSTCOLONIALIST criticism, this is the effort to rid one’s land and/or one’s culture of colonial domination

A

ANTICOLONIALIST RESISTANCE

164
Q

in POSTCOLONIALIST criticism, this can take the form of organized, armed rebellion against a colonialist regime, or can take the form of organized, non-violent resistance to colonialist oppressions

A

ANTICOLONIALIST RESISTANCE

165
Q

in POSTCOLONIALIST criticism, this happens when colonized peoples have been completely subjugated to a foreign power over the course of many generations and no longer have access to their own language or their own cultural past, many oppressed individuals manage to keep their minds free of the colonialist ideology that tells them they are inferior; such anticolonialist resistance exists on the psychological level alone and perhaps without this the other forms of resistance would never occur

A

PSYCHOLOGICAL RESISTANCE

166
Q

the guide questions of this criticism are:
o how does the literary text, explicitly or allegorically, represent various aspects of colonial oppression?
o what does the text reveal about the problematics of post-colonial identity, including the relationship between personal and cultural identity within cultural borderlands?
o what person(s) or groups does the work identify as “other” or stranger? how are such persons/groups described and treated?
o what does the text reveal about the politics and/or psychology of anticolonialist resistance?

A

POSTCOLONIALISM

167
Q

the guide questions of this criticism are:
o what does the text reveal about the operations of cultural difference (race, religion, class, cultural beliefs, and customs) in shaping our perceptions of ourselves, others, and the world in which we live?
o how does the text respond to or comment upon the characters, themes, or assumptions of a canonized (colonialist) work?
o are there meaningful similarities among the literatures of different postcolonial populations?
o how does a literary text in the western canon reinforce or undermine colonialist ideology through its representation of colonization and/or its inappropriate silence about colonized peoples?

A

POSTCOLONIALISM

LITERATURE (4 decks)

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