Literary Criticism and Theory

Introduction to Literary Criticism and Theory

You may have heard the popular phrase ‘art imitates life’, a shorter version of the idea featured in Aristotle’s Poetics. Aristotle argued that the purpose of poetry, as an art form, is to imitate the world around us through language. This is an early example of a literary theory and has been used as a way to interpret works of literature.

So, literary criticism can be defined as the practice of analysing, interpreting, and comparing works of literature, and literary theory consists of the many academic, philosophical and political frameworks that literary critics use to study literature.

Fig. 1 - A statue of Aristotle at the University of Freiburg.

Literary Criticism: Approaches

As you may have gathered by now, there are quite a few schools of literary theory! Even better, new theories and new branches of existing theories are being developed all the time. However, as an introduction to literary theory, let's start with the following four approaches: feminism, marxism, psychoanalysis, and postcolonialism.

Feminism

Feminist literary readings involve interpreting literature and literary texts through the lens of feminist ideology. Feminist ideology seeks to explore patriarchy and female oppression throughout history and has a long legacy of political controversy. There are (arguably) four waves of feminism, which we will briefly summarise here:

First wave

Whilst this is not the first instance of feminist thought or ideas, the first politically impactful wave of feminism arose around the mid 19th century. Its birth is credited to Mary Wollstonecraft’s A Vindication of the Rights of Women, which was published in 1792. This wave of feminism focused on attaining legal rights, most notably the right for women to vote. In the UK, the Representation of the People Act was passed in 1918 which allowed property-owning women over the age of 30 to vote, and the USA followed suit in 1920 with the 19th Amendment. However, it was mostly middle-class white women who benefitted from these new pieces of legislation, and the movement was heavily criticised for its lack of focus on the rights of women who faced additional oppression across the lines of class, race, sexuality, and disability.

Second wave

The second wave of feminism developed around the 1960s and 1970s and focused more on patriarchal institutions that enabled female oppression. Emphasis was placed on how women were treated in the home and the workplace, which also meant questioning traditional family and gender roles along with the institution of marriage. Queer theory, which is also a form of literary criticism, also developed around this time and overlaps in ways with second-wave feminism.

Third Wave

The third wave of feminism started in the 1990s. As pointed out by Elizabeth Evans, third-wave feminism is ironically characterised by a lack of a ‘defining feature’ in comparison to the previous two waves.¹ This movement popularised the emphasis on choice, individuality, and diversity in feminism, allowing activists to redefine and expand what it meant to be a woman and a feminist. This wave also popularised intersectional feminism, with Kimberlé Williams Crenshaw coining the term ‘intersectionality’ in 1989.

Fourth Wave

The fourth wave is seen as an ‘offshoot’ or, to some, a development of the third wave (some critics argue that the third wave never stopped). Starting in the early 2010s, this wave places an emphasis on intersectionality and dismantling the first and second wave’s brand of 'white feminism' (a key criticism of feminist theory).

There is also a fresh focus on modern 21st-century phenomenons such as social media, which led to the success of the #MeToo movement which raised awareness of the sexual violence and harassment that women experience. Furthermore, discussions surrounding women in the workplace, equality for marginalised groups of women (such as trans women and women of colour), and sex positivity, have received increased attention. This has also led to another branch of fourth-wave feminism, otherwise known as radical feminism, that argues that sex positivity has gone too far and campaigns for the banning of pornography and sex work.

Whilst feminist theory is popularly explored in contemporary literature, for example in Margaret Atwood’s The Handmaid’s Tale (1985), many critics have also used it to critique far older works of literature, such as biblical stories and Greek myths.

Other significant feminist works include The Bell Jar (1963) by Sylvia Plath, Little Women (1868) by Louisa May Alcott, The Bluest Eye (1970) by Toni Morrison, and The Awakening (1899) by Kate Chopin.

Some influential feminist critics are Judith Butler, Simone de Beauvoir, Virginia Woolf, Germaine Greer, and Kimberlé Crenshaw.

Marxism

Marxist literary theory aims to interpret and analyse literature through the lens of economic and social class, drawing heavily from the works of the famous philosopher and political thinker Karl Marx. A Marxist literary critic will argue that all literature and criticism is reflective of class struggle.

Karl Marx wrote The Communist Manifesto in 1848, in which he theorised that human history can be defined by a 'class struggle' that will eventually conclude in the replacement of capitalism with socialism.

Marx divided society into two groups:

1. The bourgeoisie is a class of individuals who control and benefit from the means of production.

2. The proletariat is a class of individuals who work for the bourgeoisie and do not control the means of production.

We can see a reflection, exploration, and criticism of the struggle between the bourgeoisie and the proletariat throughout literary history. Famous examples of Marxist novels include 1984 (1949) and Animal Farm (1945) by George Orwell, Les Miserables (1862) by Victor Hugo, and The Grapes of Wrath (1939) by John Steinbeck.

Whilst Marxist literary criticism originated in the 1800s, literary theorists have also applied these ideas to less modern literature.

Famous Marxist critics and writers include Terry Eagleton, Leon Trotsky, Georg Lukács, Louis Althusser, Frederic Jameson, and Jürgen Habermas.

Psychoanalysis

Psychoanalytical works involve reading literature through the lens of the ideology of psychologist Sigmund Freud, particularly his ideas involving childhood development, dreams, and sexuality. The ideas of Freud in relation to literature involve viewing the text itself as a manifestation of the author’s own subconscious wants and desires, however, it is also possible to psychoanalyse individual characters within literary works.

The Oedipus Complex

Freud is most well known for developing a theory he coined the Oedipus Complex. Named after Sophocles' tragic character Oedipus, who unknowingly killed his own father and married his mother, the Oedipus Complex is a name given to a stage of childhood development that features a son (or daughter) developing a sexual attraction to their parent of the opposite sex, along with a desire to kill their parent of the same sex.

Psychoanalysis or Psychology?

Whilst Freud's ideas about sexuality have certainly added to a rich history of literary and artistic expression, they shouldn't be taken as scientific theory. Freud's discovery of the Oedipus complex is based on an unfounded assumption that his patients were lying about being sexually abused by their parents. Around the time of his development of the Oedipus complex, Freud's father had just died, and this may have influenced his inability to believe that his patients would ever truly suffer at the hands of their parents. Therefore, whilst this theory has had an interesting impact on literature and theory, its scientific credibility is very questionable!

Famous psychoanalytical works include The Sound and the Fury (1929) by William Faulkner, and Portnoy’s Complaint (1969) by Philip Roth.

Famous psychoanalytic critics and writers, aside from Sigmund Freud, include Jaques Lacan, Carl Jung, and Roland Barthes.

Postcolonialism

Postcolonial literary theory looks at the power struggle between the historically colonising powers (mostly Western, European countries) and the countries and communities that have been historically colonised. It examines issues of race, culture, and colonial power within the framework of literature. Much of postcolonial theory also involves dismantling the established Western literary canon which historically favours white voices over non-white writers and theorists.

At the height of the British Empire, there was an overriding idea that Western nations were the pinnacle of civilisation and culture. Western-European nations also used this idea, that they needed to expand in order to civilise the rest of the world, to justify the exploitation of colonies for trade and political influence.

Much of postcolonial theory is focused on exploring the ideology behind Western colonialism in famous works of literature. However, many modern postcolonial works also explore the issues surrounding the ‘postcolonial identity’ by looking at the ways in which members of historically colonised societies define themselves in relation to their colonial histories. Other issues covered by postcolonial theory are:

• Diaspora: a term used to describe a dispersed population whose homeland is a separate country or region.
• Oppression: specifically in relation to racial or colonialist oppression.
• Refiguring historiography: a term that refers to the adjustment of the historical cannon in a way that accurately illuminates and highlights the realities of colonialism.
• Semantic Reclamation: the reclamation of languages that were marginalised due to colonialism.

Famous postcolonial theorists include Chinua Achebe, Edward Said, Gayatri Chakravorty Spivak, and Ngugi wǎ Thiong'o.

Famous literary works that reflect topics explored by postcolonial theory include Heart of Darkness (1899, Joseph Conrad), Things Fall Apart (1958) by Chinua Achebe, Nervous Conditions (1988) by Tsitsi Dangarembga, Midnight’s Children (1981) by Salman Rushdie and Wide Sargasso Sea (1966) by Jean Rhys.

Sources:

¹ Elizabeth Evans, The Politics of Third Wave Feminisms: Neoliberalism, Intersectionality, and the State in Britain and the US, 2015, p. 49.

² Vincent B Leitch, 'Sigmund Freud.' The Norton Anthology of Theory and Criticism, 2001, p. 913.