Critique a Literary

Selection Using the

Different Approaches
PRESENTED BY: GROUP 4
LESSON 4
MELC:
Compose an independent critique of a chosen selection

OBJECTIVE
1. Identify the literary criticism approaches.
2. Read and respond to a literary text using different approaches.
3. Analyze the structure of different texts by explaining how authors
used these to achieve their purposes.
TASK 1: MAKING CONNECTION

ACTIVITY 1: THINK ALOUD

THE CINDERELLA COMPLEX
Write your thoughts for the questions below based on your understanding and
observation about the impact of Disney's Cinderella, especially on young girls.
ACTIVITY 1: THINK ALOUD
THE CINDERELLA COMPLEX

1. In the Cinderella story, how did she overcome difficulties in life?

2. What do you think about waiting for someone else to save or help you?
3. What do you like about Cinderella? What do you dislike about her?
4. Does being physically beautiful link to being a person with a beautiful
heart or kind behavior? About her stepsisters, who are depicted as
mean and ugly? Does ugliness equate with unkindness?
TASK 2 : BUILDING UP

What are the influences

A Brief Definition:
on how we read,
Literary Criticism is the practice interpret, and
of studying and evaluating. and understand
interpreting works of literature a text?

KEY CONCEPT : LITERARY CRITICISM APPROACH

1. Literary criticism asks what literature is, what it does, and what it is worth.
2. A critical analysis is an in-depth examination of some aspect of the literary work.
3. You may examine any element of the text: character development, conflicts, narrative point of view, etc.
4. Literary critical theories inform us of certain ways to approach big ideas in the novel.
5. Literary criticism helps us to understand the relationship between authors, readers, and texts.
6. The act of literary criticism ultimately enhances our enjoyment of reading the literary work.
 APPROACHES TO LITERARY
CRITICISM

2. Formalism/ 3. New Historical

1. Biographical criticism
New Criticism Criticism

4. Psychological 5. Archetypat/ 6. Feminist/ Gender

Criticism Mythological Criticism Criticism

8. Reader Response
7. Marxist Criticism 9. Postcolonial Theory
Criticism
Read the summary of Cinderella. The different approaches to literary criticism will lead you to a better
understanding of this story.

CINDERELLA

Cinderella was born rich. After her father died, she was left to live
as a servant in her own home to her cruel stepmother and two spoiled
stepsisters. Cinderella was a meek, sweet, and beautiful girl whose social
contact was limited to animals around the house. When a royal proclamation
invited all the single young girls in the kingdom to a ball, Cinderella prepared
to go, but her stepmother and stepsister thwarted her. But, with the help of
her fairy, she ended up going to the ball after all. Her godmother warned that
the enchanted coach and gown would only last until midnight. Cinderella
met the prince at the ball and shared a romantic dance. When the clock
began to strike midnight, she ran away, leaving behind one of her glass
slippers. The prince declared that he would marry the girl whose foot fitted
that slipper. He found her, and they lived happily ever after
1 .BIOGRAPHICAL CRITICISM
This approach examines the literary work about the author's life. It views literature
as the reflection of an author's life and times (or of the character's life and times)
To truly understand his works, it is necessary to know about the author and the
political, economic, and sociological context of his times.
Example:
Charles Perrault wrote Cinderella. The story was a product of the author's deep
interest in storytelling, especially fairy tales. He was often credited as the founder of
the modern fairy tale genre. In the fairy tale, the prince marries Cinderella, who is a
servant to her stepmother and stepsisters, reflecting the author's image of a nice
bourgeois who was close to the lower classes.
2. NEW HISTORICISM
Interprets a literary work within the context of the author's historical milieu
A key promise of New Historicism is that art and literature are integrated
into the material practices of culture.
Literary and non-literary texts circulate together in society.
Focus on the author's life; the social, economic, and political circumstances of
that era; and the cultural events of the author's historical milieu.
Example:
What can we infer about property and inheritance laws in the society
where "Cinderella" evolved?
What can we infer about society's view of royalty and monarchic power?
- The story of Cinderella depicts a prince, princess, coach/carriage, and
fashion (beautiful gowns, glass slippers), which were very popular during the
author's time.
- The situation of a dysfunctional family where a stepmother/stepsister
abuses a family member by turning a child to do all the household chores.
3. FORMALISM/NEW CRITICISM
involves a close reading of the text
meaning resides in the text-- not in the reader, author, or world
focuses on analyzing irony, paradox, imagery, and metaphor
also interested in the work's setting, characters, symbols, and point of view.
no need to bring in outside information about the history, politics, or society of
the time, or about the author's life.
Analysis:
Look for symbolic or some other significance for the specific items and animals
chosen (for the coach and staff) and/or the numbers of each chosen. Example: The
fairy godmother asked for six mice and six lizards.
Compare the speech patterns of Cinderella and the stepmother and stepsisters.
Are there noticeable differences in cadence? Do any use more (or less) figurative
or poetic language than the others? Do any speak noticeably more (or less) than
others?
4. PSYCHOLOGICAL CRITICISM
Interprets works through the lens of psychology
Looks either at the characters' psychological motivations or at the authors
themselves, most frequently applying Freudian psychology to works, but other
approaches exist.
Example:
Oedipus complex: a boy's unconscious rivalry with his father for the love of his mother.
Electra complex; a girl's unconscious rivalry with her mother for the love of her father.
Cinderella versus her stepmother (the motive of the stepmother)
5. ARCHETYPAL/MYTHOLOGICAL CRITICISM
assumes that there is a collection of symbols, images, characters, and motifs (i.e.,
archetypes) that evokes basically the same response in all people.
identifies these patterns and discusses how they function in the works.
asserts that these archetypes are the source of much of literature's power.
Some Archetypes:
1. archetypal women - the Good Wife/Mother, the Terrible Mother, the Virgin (often
a Damsel in Distress), and the Fallen Woman.
2. water - creation, birth-death-resurrection, purification, redemption, fertility,
growth
3. garden - paradise (Eden), innocence, fertility
4. desert - spiritual, emptiness, death, hopeless
5. red - blood, sacrifice, passion, disorder
 Some Archetypes:
6. green- growth, fertility
7. black - chaos, death, evil
8. serpent - evil, sensuality, mystery, wisdom, destruction
9. seven - perfection
10. hero archetype - The hero is involved in a quest (in which he overcomes
obstacles). He experiences initiation (involving a separation, transformation, and
return), and finally, he serves as a scapegoat; that is, he dies to atone.

Example:
The glass slippers fit Cinderella and show her feet as small. Small feet are
a status symbol and feminine beauty in Imperial China. Scholars argued that the tale
originally dated back to a Chinese story from the ninth century, "Yen-Shen" Cinderella
is a widely-read fairy tale, so almost every culture seems to have this version, and
every storyteller has their tale. Charles Perrault is believed to be the author in the
1960's.
6. FEMINIST/GENDER CRITICISM
how literature (and other cultural productions) reinforce or undermine the
economic, political, social, and psychological oppression of work.
role of women in the literary work
representations of women
power structures between men and women
stereotypical representations of gender
Gender equality
EXAMPLE:

Cinderella needs a prince to save her.

Consider the misogynist theme of the abused girl waiting to be rescued by a prince.
Can Cinderella save herself? Why in need of man? Can't women exist independently of
men?
Are women only valuable to men as sexualized object?
7. MARXIST CRITICISM
Based on the theory of Karl Marx, who perceived human history to have consisted
of a series of struggles between classes -- between the oppressed and the
oppressing ("the haves" and "the have-nots")
Focus on the ideological content of a work
Examines the nature of power structures within a novel
and asks questions Who has power? Who lacks power?
What is the relationship between power and wealth?
Who is exploited by whom and why?
EXAMPLE:
Cinderella represents the proletariat (the working class) oppressed by her rich
stepmother and stepsisters, who have stolen her rightful inheritance and turned her
into a servant in her own home.
Cinderella desired to join the ranks of the bourgeoisie (the rich) by marrying the prince.
8. READER RESPONSE CRITICISM
Emphasize the reader's role in understanding the text
The text itself has no meaning until a reader reads it.
The test has a different meaning to the readers because the reader creates the
meaning.
The meaning is not dependent on the author.
EXAMPLE:
What feelings do the readers have for Cinderella, who finally marries the prince?
Is it enough to know someone well and marry them from just one dance?
What do you think the prince liked about cinderella? What made him notice her?
9. POSTCOLONIAL THEORY
The literature comprises colonizing countries dealing with colonization or
colonized peoples.
Greatly interested in the cultures of the colonizer and the colonized.
The postcolonial theory seeks to critically investigate what happens when two
cultures clash and one of them ideologically fashions itself as superior and
assumes dominance and control over the other.
Depends on a historical understanding of time and place.
What colonizer-colonized relationships have we seen in history?
The victors write history. The losers are fogotten.
EXAMPLE:
Cinderella is a conquered individual under the tyrannical rule of a stepmother (an
unnatural maternal figure who "invades" the family).
Undemocratically elected prince continues to build riches on the backs of colonized
paupers. The only way Cinderella can escape poverty is by playing the monarchy game.
Other examples: Pocahontas, the Jungle Book
TAKS 3: FIRMING UP

ACTIVITY 1: THROUGH THE LENS

Read the one-act play, "The World is an Apple" by Alberto S. Florentino. Write
a critical analysis using the literary criticism approaches indicated in the
worksheet.

The World Is An Apple

Characters: Gloria, Mario, Pablo
Scene::
An improvised home behind a portion of the Intramuros walls. Two wooden
boxes flank the doorway. At left is an acacia tree with a wooden bench under it.
MARIO enters from the street at the left. He is in his late twenties, shabbily
dressed, and with hair that seems to have been uncut for weeks, He puts his
lunch bag on the bench, sits down, removes his shoes, and puts them beside his
lunch bag.
GLORIA: (Calls from inside) Mario! Is that you, Mario?

MARIO: Yes…

GLORIA: (A small woman about Mario’s age, with long hair, comes out wiping her
hands on her dress.)
I’m glad you’re home early.

MARIO: How is Tita?

(Without waiting for an answer, he enters the dwelling).

GLORIA: (Crosses to the bench)-

Don’t wake her up, Mario. She’s tired. She cried the whole day.
MARIO: (reappears and crosses to the bench and sits on one end) Has she
been eating well?

GLORIA: She wouldn’t eat even a mouthful of lugao. But I’ll

buy her some biscuits. Maybe she’ll eat them. (She slips her fingers
into his breast pocket) I’ll take some of the Money!

MARIO: (Rises, annoyed)

Gloria! Can’t you wait a minute?

GLORIA:(Taken aback)-

Hey, what’s the matter? Why are you suddenly so touchy?

MARIO: (Repentant)- I’m sorry, Gloria… (Grips her arm)

GLORIA: It’s all right, Mario. Now, may I have some of the money?

MARIO: (Turns to her)-Money? I … don’t have any… not now.

GLORIA: Today is payday, Mario.

MARIO: Yes … but…

GLORIA: But what? Where’s your pay for the

week?

MARIO: I don’t … have it.

GLORIA: What? I waited for you the whole day and you tell me...

MARIO:(Angry)- that I have nothing! Nothing! What do you want me to do-

steal?

GLORIA: I’m not asking you to do a thing like that! All I want to know is
what you did with your money.

MARIO: (Sits on the bench)-Nothing is left of it.

GLORIA: Nothing? What happened?

MARIO: Oh, I had a few drinks with my friends. Before I knew it, I had
spent every centavo of it.
MARIO: All right, so I didn’t go drinking.

GLORIA: But your pay- what happened to it?

MARIO: It’s better if you don’t know, Gloria

GLORIA: Look, Mario I’m your wife. I have the right to half of everything
you get. If I can’t have my share, I have the right to know at least
where it went!

MARIO: All right.(Rises.) I spent it all on another woman.

GLORIA: Another woman? I don’t believe it. I know you wouldn’t do such
thing.
MARIO: I didn’t know you had so much faith in me.

GLORIA: No, Mario, what I mean is- you wouldn’t spend all
your money when you know your daughter may need some of it. You
love her too much to do that.
(Mario sits down and buries his head in his hands. Gloria crosses to him and
lays a hand on his shoulder.)

GLORIA: What’s wrong, Mario?

MARIO: (Turns his face away)- Nothing, Gloria, nothing.

GLORIA: (Sits beside him) I know something is wrong,

Mario. I can feel it. Tell me what it is.
MARIO: (Stares at the ground) – Gloria, I’ve lost my job.

GLORIA: (Rises, shocked) Oh, No!

MARIO: (Looks up at her)It’s true, Gloria

GLORIA: What about your pay for the whole week?

MARIO: I lost my job a week ago.

GLORIA: And you never even told me!

MARIO: I thought I could get another, without making you worry.

MARIO: It won’t take me as long to get another.

GLORIA: But how did you lose it? Mario! Have your sinful
fingers brought you trouble again?

MARIO: Now, now, Gloria! Don’t try to accuse me, as they did!

GLORIA: What did they accuse you of?

MARIO: Just what you meant to say, Pilfering, they call it.

GLORIA: What else would you call it? (Pause.)What , according to them,
did you steal?
MARIO: (Low) It was nothing much, really nothing at all.

GLORIA: What was it?

MARIO: It was an apple.

GLORIA: An apple! You mean-

MARIO: An apple! Don’t you know what an apple is?

GLORIA: You mean, you took one apple.

MARIO: Yes, and they kicked me out for it: for taking one, single apple.
Not a dozen, not a crate.
GLORIA: That’s what you get —

MARIO: (Sits down ) -Could I have guessed they would

do that for one apple? When there were millions of them?(Pause.) We
were hauling them to the warehouse. I saw one roll out of a broken
crate. It was that big. Suddenly, I found myself putting it in my lunch
bag.

GLORIA- That’s the trouble with you; when you think of your own stomach,
you think of nothing else!

MARIO: (Rise)- I was not thinking of myself!

GLORIA: Whom were you thinking of- me? Did I ever ask for apples?
MARIO: Yes, she did. (pause.) Do you remember that day I took her out for
a walk? On our way home we passed a grocery store that sold
“delicious” apples at seventy centavos each. She wanted me to buy
one for her, but I did not have seventy centavos. What I
did was buy her one of those small green apples they sell on the
sidewalk, but she just threw it away, saying it was not a real apple.
Then she cried. (Pause.)So… when I saw this apple roll out of the
broken crate, I thought that Tita would love to have it.

GLORIA: You should have tried to bring home pan-de-sal, or rice, or milk-
and not those “delicious” apples. We’re not rich. We can live without
apples!
MARIO: Why? Did God create apple trees to bear fruit for the rich alone?
Didn’t
He creates the whole world for everyone. That’s why I tried to bring the
apple home for Tita. When we brought her into this world we sort of
promised her everything she had a right to have in life.

GLORIA: So, for a measly apple, you lost a job.

MARIO: I wouldn’t mind losing a thousand jobs for an apple for my

daughter!

GLORIA: Where was this apple? Did you bring it home to Tita?
(Crosses to the bench to get the lunch bag)
MARIO: No, they kept it as evidence. (Sits down.)

GLORIA: See? You lost your job trying to filch an apple

and you even lost the apple for which you lost your job.
(Gloria puts away the shoes and the lunch bag. She sits on the steps and
they remain silent for a time.)

GLORIA: (Rising)-Filching an apple that’s too small a reason to kick a poor

man out of work. You should ask them to give you a second chance,
Mario.

MARIO: They won’t do that.

GLORIA: Why not?

MARIO: (Rises) Can.t you see they had been waiting for
me to make a slip like that? They’ve wanted to throw me out for any
reason, so that they may bring their own men in.
GLORIA: You should complain.

MARIO: If I did? They would dig up my police record.

GLORIA: (Crosses to him)- But, Mario that was so long

ago! Why would they try to dig that thing up?

MARIO: They’ll do anything to keep me out .(Holds her arm.) But don’t
worry, I’ll find another job. It isn’t really so hard to look for a job
nowadays. (From this point he avoids her eyes). You know I’ve been
job hunting for a week now, and I think I have found a good job.
GLORIA: There you go, lying again.

MARIO: Believe me, I’m not lying this time.

GLORIA:(Crosses to the center)- -You’re always lying- I

can’t tell when you’re telling the truth or not.

MARIO: In fact I’ll see someone tonight who knows of a company that
needs a night watchman.

GLORIA: (Holds his arm) Honest?

MARIO: (Avoids her eyes) Honest! (Sits down.)

GLORIA: I knew God wouldn’t let us down. He never lets anybody down. I’ll
pray tonight and ask Him to let you have that job.
(Looks at Mario)
But, Mario would it mean that you’d have to stay out all night?

MARIO: That would be all right. I can always sleep during the day.

GLORIA: (Brushes against him like a cat)- What I mean is, it will be
Different when you aren’t by my side at night. (Walks away from
him.) But, oh, I think I’ll get used to it. (Crosses to the center and
turns around.) Why don’t you go and see this friend of yours right
now? Anyway, you don’t have anything to do tonight. Don’t you think
it’s wise to see him as early as you can?
MARIO:(After a pause)-Yes, I think I’ll do that.
(Gloria crosses to the steps to get his shoes, followed by Mario.)

GLORIA: (Hands him the shoes.)-

Here, Mario, put these on and go I’ll step up and wait for you.
(Sits on the steps and watches him.)

MARIO: (Putting on the shoes)-

No, Gloria, you must not wait for me. I may be back quite late.

GLORIA: All right, But doubt if i can sleep a wink until you return.
(Gloria comes up to him after he finishes and tries to hug him, but he pushes
her away). Suddenly confused, he sits
on the steps. Gloria sits beside him and plays with his hands.)
GLORIA: Mother was wrong. You know, before we got married, she used to
tell me:” Gloria, you’ll commit the greatest mistake of your life if you
marry that good-for-nothing loafer!
” Oh, I wish she were alive now, She would have seen how much
you’ve changed.
(She sees someone behind the tree: Pablo. He has been watching them for a
time. He is older than Mario, sinister-looking, and well-dressed.)

PABLO: (Sarcastic)-Hmmmmmm How romantic!

MARIO: Pablo!
(Suddenly unnerved, Mario starts to fidget. Gloria rises and walks to the center,
her eyes burning with hate. Pablo lights a cigarette, never taking his eyes
burning with hate. Pablo lights a cigarette, never taking his eyes off her.)
PABLO: You’re not glad to see me, are you? (Puts a foot on the bench.)

GLORIA: (Angry)- What are you doing here? What do you want?

PABLO: Saaaay! Is that the right way to receive a friend who has come a
visiting?

GLORIA: We don’t care for your visits!

PABLO: You haven’t changed a bit, Gloria… not a bit.

GLORIA: Neither have you, I can see!

PABLO: You’re still that same woman who cursed me to hell because I
happened to be Mario’s friend long before you met him. Time has
not made you any kinder to me. You still hate me, don’t you?

GLORIA: Yes! And I wish you’d stay away from us for the rest of our lives!

PABLO: Am I not staying away from you?

GLORIA: Then why are you here?

PABLO: God! May I not even come to see you now and then, to see if life
has been kind to you? How are you getting along?

GLORIA: (Scornfully) We were doing well until you showed up!

PABLO: Your daughter- she was only that high when I saw her last-how is
she?

GLORIA: She’s all right!

PABLO: Oh! and I thought she had not been very well.

GLORIA: (Suspicious)How did you know? (To Mario). Did you tell him?

MARIO: I … how could I? I haven’t seen him in a long time … (Sits down.)
until now of course.

PABLO: What? is she sick with?

GLORIA: (Curtly)- We don’t know!

PABLO: Don’t you think you should take her to a doctor? (Puts his
foot down and pulls out his wallet). Here, I’ll loan you a few
pesos. It may help your daughter to get well.

GLORIA: (Scornfully)- We need it all right-but no, thank you

PABLO: Why don’t you take it!

GLORIA: Paying you back will only mean seeing your face again.

PABLO: Well, if you hate my face so much, you don’t have to pay me back.
Take it as a gift.
GLORIA: The more reason I should refuse it!

PABLO: All right, if that’s how you want it.- (Sits down and plays with the
wallet.)

GLORIA: Mario has stopped depending on you, since the day I took him
away from your ” clutches”!I have no regrets.

PABLO: How about Mario? Has he no regrets either?

GLORIA: He has none.

PABLO: How can you be so sure? When he and I were pals we could go to
first-class air-conditioned movie houses every other day. I’ll bet all the
money I have here now (brandishing his wallet) that he has not been
to one since you “liberated” him from me. And that was almost four
years ago.

GLORIA: One cannot expect too much from honest money- and we don’t.

PABLO: (Rises and walks about) What is honest money? Does it look better
than dishonest money? Does it buy more? honesty? What is it?
Dressing like that? Staying in this dungeon you call a house? Is that
what you call “honesty”?

MARIO: (Rises)- Pablo!

PABLO: See what happened to your daughter. That is what honesty has
done to her. And how can honesty help her now? She’s not sick and
needs food. Good food.

MARIO: Pablo!

GLORIA: I know you have come to lead him back to your dishonest ways,
but you can’t. He won’t listen to you now! We have gone this far
and we can go on living without your help!

PABLO: ( Sarcastic) – You call this living? This, Gloria, is what you call dying-
dying slowly minute by minute. (Laughs.)

MARIO: (Crosses to him and shakes him)- Pablo, stop it! (Pablo stops). You
shouldn’t have come.
PABLO: I got tired waiting for you!

GLORIA: So you have been seeing each other! I was afraid so!

PABLO :He came to the house yesterday.

MARIO: Pablo, don’t

PABLO: (Ignoring Mario) He said he would be back this noon. But he didn’t
show up. I came because I was afraid his conscience was bothering
him.

MARIO- Pablo, I told you she should not know!

PABLO: It’s all right, Mario. You’d better tell her everything. She’s bound to
know later. Tell her what you told me: that you no longer believe in
the way she wanted you to live. Tell her.
(Mario turns his back on them.)

GLORIA: Mario… is this what you meant by another job

MARIO: Gloria… you…you must try to understand… I tried… but I could

not left us out of this kind of life…

GLORIA: (shouts at Pablo)- You’re to blame for this, you son-of-devil!

PABLO: He came to me first-

GLORIA: When you know he’ll cling to anything and do anything! Even
return to the life he hates! Get out!

PABLO: I’ll leave just as soon as Mario is ready to go.

GLORIA: He’s not going with you!

PABLO: Is that so? Why don’t you ask him?- (sits on the bench, grinning.)

GLORIA: ( to Mario)-You’re not going with him, are you, Mario? Tell him to
leave us and never come back! Tell him to go, please, Mario… I know
he has talked to you and tried to poison your mind again… but don’t
go with him.
MARIO:(Holds her) – Gloria, I…

PABLO: Don’t worry about him, Gloria. He’s safe with me.

MARIO: ( Pulls her away)- You stay there, Pablo, I’ll be with you in a minute.

MARIO:-Gloria, I’m going with him.

GLORIA: Don’t Mario, don’t…

MARIO: You can’t make me stop now, I’ve thought about this since last
week.

GLORIA- No, no Mario, no … (Holds fast to him.)

MARIO: You take good care of yourself and our child. I’ll take good care of
myself. Don’t wait up for me. I’ll come home very late.
(Mario walks away with Pablo. Gloria stares at them, then she shouts.)

GLORIA- MARIOOOOOOOOOO!
(She covers her face with her dress and cries into it. The daughter, from
inside, joins her crying as the curtain closes.)

Note: Answer the worksheet found on the next page.

LITERARY ANALYSIS WORKSHEET

Identify the portion or event from the text that shows the literary criticism
approach. Explain your answer.

LITERARY CRITICISM EXPLANATION

FROM
APPROACHES THE TEXT

Formalist Criticism

Psychological Criticism

Marxist Criticism

Feminist Criticism

Archetypal Criticism

Reader Response Criticism

ACTIVITY 2: REFLECTION
1. What is your favorite literary criticism approach? Why?_______________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
2. Why do we need to apply the literary criticism approach in reading?
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
3. What is your most important learning from this lesson?
________________________________________________________________________________
________________________________________________________________________________
________________________________________________________________________________
ASSESSMENT
A. Identify the definitions below according to the different literary criticism
approaches. Circle the letter of the best answer.

1. Views literature as part of history and an expression of forces on history.

a. New Historicism Approach c. Archetypal Approach

b. Reader Response Criticism d. Feminist Approach

2. The meaning of the text relies on the reader.

a. New Historicism Approach c. Archetypal Approach

b. Reader Response Criticism d. Feminist Approach
3. Role of women in the literary work; representations of women.
a. New Historicism Approach c. Archetypal Approach
b. Reader Response Criticism d. Feminist Approach
4. The presence of symbols, images, characters, and motifs that evokes
meaning and basically the same response in all people.
a. New Historicism Approach c. Archetypal Approach
b. Reader Response Criticism d. Feminist Approach

5. Facts from the author's life are used to help the reader better understand the
work.
a. Psychological Criticism c. Marxist Criticism Approach
b. Formalism/New Criticism d. Biographical Criticism Approach
 6. Looks either at the psychological motivations of the characters or of the
authors themselves.
a. Psychological Criticism c. Marxist Criticism Approach
b. Formalism/New Criticism d. Biographical Criticism Approach
7. Meaning reside in the text---not in the reader, author, or world.
a. Psychological Criticism c. Marxist Criticism Approach
b. Formalism/New Criticism d. Biographical Criticism Approach
8. Focus on a series of struggles between classes--between those who are in
power and the lower class.
a. Psychological Criticism c. Marxist Criticism Approach
b. Formalism/New Criticism d. Biographical Criticism Approach
9. The focus is generally on literature produced in former colonies and the
coolonizer's response
a. Archetypal Approach c. Post-Colonial Criticism Approach
b. Formalism/New Criticism d. New Historicism Approach
Any questions or
clarifications?
That's it, thank you for
listening !
 GROUP 4
Villanueva, Rhian Ashley C.
Mallanao, Gianne Rein
Guittu, Lieanne Jehn
Solon, Princess
Lumba, Keziah
Agbuya, Paul Adrian
Aguirre, Renzel Joshn
Martinez, Neal
Quiambao, Anthony Mark
Zapico, Rodel M.