Kibin. (2023). A literary analysis of the fall of the house of usher and the cask of amontillado by edgar allan poe. -examples/a-literary-analysis-of-the-fall-of-the-house-of-usher-and-the-cask-of-amontillado-by-edgar-allan-poe-vAa0o3mk
"A Literary Analysis of the Fall of the House of Usher and the Cask of Amontillado by Edgar Allan Poe." Kibin, 2023, www.kibin.com/essay-examples/a-literary-analysis-of-the-fall-of-the-house-of-usher-and-the-cask-of-amontillado-by-edgar-allan-poe-vAa0o3mk
literary analysis of the house of usher
1. "A Literary Analysis of the Fall of the House of Usher and the Cask of Amontillado by Edgar Allan Poe." Kibin, 2023. -examples/a-literary-analysis-of-the-fall-of-the-house-of-usher-and-the-cask-of-amontillado-by-edgar-allan-poe-vAa0o3mk.
"A Literary Analysis of the Fall of the House of Usher and the Cask of Amontillado by Edgar Allan Poe." Kibin, 2023. -examples/a-literary-analysis-of-the-fall-of-the-house-of-usher-and-the-cask-of-amontillado-by-edgar-allan-poe-vAa0o3mk.
The purpose of this research is to discuss the formalistic approach to Edgar Allan Poe's "The Fall of the House of Usher" ("FHU"). The object of formalistic criticism is to discover and explain the form of Poe's short story from an examination of the text. The text will be used to discover the shape and effect of the story, as well as to discuss how they are achieved. In A Handbook of Critical Approaches to Literature the underlying rationale to the formalistic approach is discussed (Guerin 72). The background of formalistic theory can be found in classical art and aesthetics which showed a preoccupation with form. The theory of unity of Aristotle's Poetics has particular application "FHU." Poe's theories of art--an extension of Coleridge's theory that parts "mutually support and explain each other; all in their proportion harmonizing with, and supporting the purpose and known influences of metrical arrangement"--are based on the premise that short stories and poems, in other words, short works of art, are the most excellent forms of literature because they can maintain and transmit a single, unitary effect more successfully than longer works (Guerin 73). What is considered the true systematic and methodological formalistic approach to literary criticism appeared in the 1930s with the rise of the New Criticism. "The New Critics sought precision and structural tightness in the literary work; they favored a style and tone that, tended toward irony; they insisted on the presence within the work of everything necessary for its analysis; and they called for an end to a concern by critics and teacher of English with matters outside the work itself" (Guerin 75). To adopt the tenets of the New Criticism leads to an extremely careful reading of the text. The process of formalistic analysis begins with an intensive reading of the text, including all levels of meanings, the etymologies of words, structures and patterns, rela...
Binary opposition is the literary technique of setting two situations, persons, or objects in opposition to one another. Some examples are good and evil, light and dark, open and closed, near and far, or any set of items or concepts that can be reduced to two aspects. Of course, in most situations, things are more involved and complicated than this. But for our purposes, as well as for use in analysis of other literature, the use of binary opposites provides a focal point for discussion. But what is more important than just listing binary oppositions is determining the sense of conflict that the opposites create in the story. (Remember, if there is no conflict in a tale, there is no interest generated by it.)
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YES,34, 2004 YES,34, 2004 303 303 writers' works throughout the century and beyond. Joanne Wilkes and Linda Peterson, in essays on the canon and self-writingrespectively,continue the discussion . Shattock's emphasis on the century's uneasy fascination with the cultural figure of the woman writeris developed by MargaretBeetham'schapteron women and print culture, which weaves historical, sociological, and literary analysis and contains a particularlyfascinating account of the connections between women's consumption of food and print. Such issues are consolidated in Valerie Sanders's chapter on women novelistsin the marketplace,together withJudithJohnston and Hilary Fraser'sco-writtenessay on the professionalizationof women's writing.The collection also, however, has ample room for specific discussionof kinds of literature : journalism (Barbara Caine), domestic fiction (Elizabeth Langland), poetry (VirginiaBlain), and drama (Kate Newey). Blain's chapter, while excellent in its own right, does however demonstrate a problem with the collection. At the end of her discussion,Blain admitsthat she has had little room for poetry outside the middle classes. She provides an abbreviated introductiontoJanet Hamilton and EllenJohnston, remindingthe readerthat such working-classScottish poets are indebted to oral and not literary culture, and so need to be situated within different discourses.Blain's brief reference to the constraintsof space does betray the firstof two weak spots in the project.The 'Britain' of the title is implicitlydefined throughoutthe collection as Englishand metropolitan ; indeed, to be precise, London. In her introduction, the editor argues that a considerationof other national identities and of non-metropolitanliteraturewithin the United Kingdom requiresseparateindependent study.No one could arguewith that, and yet the self-conscious absence of these 'other' literaturesin Women and Literature in Britain,i8oo-9o00 neverthelessrepeats the nineteenth-centurynorms of class and national identity. In addition, what the title names as 'literature'is often constructedby the collection, despite its attention to a diversityof discourses,as the novel, often to the exclusion of poetry. In essaysthat might have consideredwomen poets, 'literature'is often synonymouswith the novel and poetry is dismissedwith a brief mention or a footnote, oddly repeating the nineteenth century's marginalization of poetry. The notable exception is the essay on children's literatureby Lynne Vallone which demonstrates how a discussion of different discourses tracts,the domestic novel, poetry, fantasy,the school story, and non-fiction- can be fruitful.Even this exemplary chapter, however, self-consciouslyside-stepsissues of class (p. 276). UNIVERSITY OF GLASGOW ALISONCHAPMAN Disorderly Sisters:SiblingRelationsand SororalResistance in Nineteenth-Centugy British Literature. By LEILA SILVANA MAY.Cranbury, NJ: Bucknell University Press; London:AssociatedUniversityPresses.200I. 276 pp. ?35. ISBN: 0-8387-5459-7. This book has an immediate problem:the title. Disorderly Sisters: Sibling Relations and Sororal Resistance inNineteenth-Century British Literature is, properlyspeaking,concerned neither with literatureperse nor with the nineteenth century. Leila Silvana May engages only with the Britishnovel (supplementedwith Poe's 'The House of Usher') from, as the introductionfranklyadmits,Frankenstein (1831)to NoName(1862).Within such a time-span,the analysisaddressesan unsurprisingchoice of novels such as The Mill ontheFlossand Wuthering Heights, alongside less canonical novels by Geraldine writers' works throughout the century and beyond. Joanne Wilkes and Linda Peterson, in essays on the canon and self-writingrespectively,continue the discussion . Shattock's emphasis on the century's uneasy fascination with the cultural figure of the woman writeris developed by MargaretBeetham'schapteron women and print culture, which weaves historical, sociological, and literary analysis and contains a particularlyfascinating account of the connections between women's consumption of food and print. Such issues are consolidated in Valerie Sanders's chapter on women novelistsin the marketplace,together withJudithJohnston and Hilary Fraser'sco-writtenessay on the professionalizationof women's writing.The collection also, however, has ample room for specific discussionof kinds of literature : journalism (Barbara Caine), domestic fiction (Elizabeth Langland), poetry (VirginiaBlain), and drama (Kate Newey). Blain's chapter, while excellent in its own right, does however demonstrate a problem with the collection. At the end of her discussion,Blain admitsthat she has had little room for poetry outside the middle classes. She provides an abbreviated introductiontoJanet Hamilton and EllenJohnston, remindingthe readerthat such working-classScottish poets are indebted to oral and not literary culture, and so need to be situated within different discourses.Blain's brief reference to the... 2ff7e9595c
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