Structuralism And Literary Analysis

The western intellectual enquiry has undergone tremendous attitudinal as well as perceptional change over the years. The modifications are necessitated by the socio-political predicament of the ages gone into the repository of the past. Innumerable movements and isms have proficiently supplied ideas and ideologies to interpret the literary text from divergent perspective. “If there is such a thing as literary theory, then it would seem obvious that there is something called literature which it is the theory of.” (1) To put it precisely, much earlier critical writings aimed at explicating the nuances which must have involved in literary production. Whereas, the modern critical contributions rest largely on elucidating the technicalities that

Both phases have tremendously contributed, shaped, determined and impacted the subsequent branches of knowledges, which have periodically been substituted to dismantle literary texts. As for as new criticism and formalism are concerned, The self-referential interpretation to text is paramount. ‘Defamiliarization’ and ‘literariness’ are excessively emphasized in Russian formalism to analyze document that falls under imagination. “It was made of words, not of objects or feelings, and it was a mistake to see it as the expression of an author’s mind.” (3) The referential/denotative denomination of a literary language is kept high above emotive/affective outpouring that of an author. The same method of investigation lends itself to comprise and and then to figure out the connotative/suggestive presence of compelling words on the

As we are concerned so much about ‘social energy’ as a predominant contributive phenomenon, it can also be interesting to sea the presence of common humanity in Shakespearian plays, as he has often been contested for having dramatised the superhuman personalities, or in substitution the powerful elite individual. “A Midsummer Night’s Dream, The Tempest and Henry V are also historicised to reveal a Shakespeare in closer in sympathy to Caliban, Trinculo, Stephano than to Prospero.” But there would be alarming results, if the plays of Shakespeare is observed closely from renaissance construction of gentility. The gentlemen have encountered no trouble what so ever in finding their way out both on stage and in the space of spectatorship. The process of selection and omission has been envisaged consistently at the time of play production, which has later been