He had soured on radical politics, too—by the early seventies, "Berkeley" had pretty much reverted to being "Cal," a politically quiescent campus—and his experience with his graduate seminar had begun to make him think that there was something too easy about psychoanalytic criticism.
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Psychoanalytic theory reached the peak of its impact in the late fifties, when Crews was switching from history-of-ideas criticism to psychoanalytic criticism, and it began to fade in the late sixties, when Crews was starting to notice a certain circularity in his graduate students' papers.
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Her research interests include Hebrew culture (biblical and modern); history of ideas (particularly of Zionism and its contexts); gender and cultural studies; and psychoanalytic criticism.
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In psychoanalytic criticism, the author's biography and unconscious state were seen as part of the text, and therefore the author's intent could be revived from a literary text—although the intent might be an unconscious one.
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Other texts edited or written by Holland on the subject of psychoanalytic criticism include: Shakespeare's Personality (1989; with Bernard J. Paris and Sidney Homan)Berkeley: University of California Press, 1989. and Holland's Guide to Psychoanalytic Psychology and Literature-and-Psychology (1990).New York: Oxford University Press, 1990.
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Alain de Mijolla: International Dictionary of Psychoanalysis, 3 Volume, Publisher: Gacl, 2005, He died, aged 84, in Paris. André Green was the author of numerous papers and books on the theory and practice of psychoanalysis and the psychoanalytic criticism of culture and literature, many of which have also appeared in English translations.
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Lacan's 1973 Letter to the Italians,J. Lacan Letter to the Italians, 1973 – see translation as pdf: nominated Muriel Drazien, Giacomo Contri and Armando Verdiglione to carry his teaching in Italy. As a body of thought, Lacanianism began to make its way into the English-speaking world from the sixties onwards, influencing film theory, feminist thought, queer theory, and psychoanalytic criticism,J. Childers/G. Hentzi, The Columbia Dictionary of Modern Literary and Cultural Criticism (1996) p.
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Sandra M. Gilbert (born December 27, 1936) is an American literary critic and poet who has published in the fields of feminist literary criticism, feminist theory, and psychoanalytic criticism. She is best known for her collaborative critical work with Susan Gubar, with whom she co-authored, among other works, The Madwoman in the Attic (1979). Madwoman in the Attic is widely recognized as a text central to second-wave feminism. She is Professor Emerita of English at the University of California, Davis.
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Holland's publications on psychoanalytic criticism include Psychoanalysis and Shakespeare (1966),New York: McGraw-Hill, 1966. which summarizes what psychoanalysis had had to say about Shakespeare up to that time and proposes that the roles of readers and audiences are more important to literary criticism than previously understood. The themes introduced in Psychoanalysis and Shakespeare led to his 1968 book, The Dynamics of Literary Response,New York: Oxford University Press, 1968. which provides a model of literary response in which the reader introjects a process of psychological transformation (from unconscious fantasy toward conscious significance) that is embodied in the literary work.
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The object of psychoanalytic literary criticism, at its very simplest, can be the psychoanalysis of the author or of a particularly interesting character in a given work. The criticism is similar to psychoanalysis itself, closely following the analytic interpretive process discussed in Freud's The Interpretation of Dreams and other works. Critics may view the fictional characters as psychological case studies, attempting to identify such Freudian concepts as the Oedipus complex, Freudian slips, Id, ego and superego, and so on, and demonstrate how they influence the thoughts and behaviors of fictional characters. However, more complex variations of psychoanalytic criticism are possible.
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Major critics such as M. A. Goldberg and Harold Bloom have praised the "aesthetic and moral" relevance of the novel, although there are also critics such as Germaine Greer, who criticized the novel as terrible due to technical and narrative defects (such as it featuring three narrators who speak in the same way). In more recent years the novel has become a popular subject for psychoanalytic and feminist criticism: Lawrence Lipking states: "[E]ven the Lacanian subgroup of psychoanalytic criticism, for instance, has produced at least half a dozen discrete readings of the novel".L. Lipking. Frankenstein the True Story; or Rousseau Judges Jean-Jacques.
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Since theorists of literature often draw on a very heterogeneous tradition of Continental philosophy and the philosophy of language, any classification of their approaches is only an approximation. There are many types of literary theory, which take different approaches to texts. Even among those listed below, many scholars combine methods from more than one of these approaches (for instance, the deconstructive approach of Paul de Man drew on a long tradition of close reading pioneered by the New Critics, and de Man was trained in the European hermeneutic tradition). Broad schools of theory that have historically been important include historical and biographical criticism, New Criticism, formalism, Russian formalism, and structuralism, post-structuralism, Marxism, feminism and French feminism, post-colonialism, new historicism, deconstruction, reader-response criticism, and psychoanalytic criticism.
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The concepts of psychoanalysis can be deployed with reference to the narrative or poetic structure itself, without requiring access to the authorial psyche (an interpretation motivated by French psychoanalyst Jacques Lacan's remark that "the unconscious is structured like a language"). Or the founding texts of psychoanalysis may themselves be treated as literature, and re-read for the light cast by their formal qualities on their theoretical content (Freud's texts frequently resemble detective stories, or the archaeological narratives of which he was so fond). Like all forms of literary criticism, psychoanalytic criticism can yield useful clues to the sometime baffling symbols, actions, and settings in a literary work; however, like all forms of literary criticism, it has its limits. For one thing, some critics rely on psychocriticism as a "one size fits all" approach, when other literary scholars argue that no one approach can adequately illuminate or interpret a complex work of art.
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