Author: Julie Rivkin; Michael Ryan. Publisher: Malden, Mass. Clonedvd 2 9 3 3 Crackle. : Blackwell, 1998. Edition/Format: Print book: EnglishView all editions and formats. Summary: A combination of the classic statements in criticism and the new theories that have revolutionized literary study in the past several decades. This anthology contains.

Medieval 2 Total War Tsardoms Free Download more. Rivkin (born 1952) is an American literary critic and professor of at since 1982. She is best known for her publications on and, and has published several works on both subjects. Rivkin received her B.A. And from and is currently the Associate Dean of Faculty at, a member of the, and Vice President of the.

Her other specializations include and (publisher of the ). False Positions [ ] In 1996, Rivkin published a book of essays titled False Positions: The Representational Logics of Henry James's Fictions, which explores theoretical complications in 's novels,,, and. Literary Theory: An Anthology [ ] In 1998, Rivkin, co-editing with Michael Ryan, published Literary Theory: An Anthology, a comprehensive guide to contemporary Literary Theory which is used in many undergraduate and graduate courses of Literary Theory and cultural criticism at universities and colleges ranging from to the. The large anthology covers topics ranging from to the work of and. It has influenced other books on the subject and has been cited in publications by Bruce McComiskey in English Studies as well as Mary Klage's Literary Theory: A Guide for the Perplexed and other publications on literary theory. References [ ].

“In studying his patients, Freud realized that the unconscious often expresses itself in the forms of dreams, since at night during sleep, the vigilance of the repressive ego in regard to unconscious desire is stilled.... Unconscious wishes can find expression in dreams because dreams distort the unconscious material and make it appear different from itself and more acceptable to consciousness” (Rivkin and Ryan 390). Because I discussed Freudian and Lacanian ideas in my last post, I thought I would go deeper into Freud’s theory about dreams. I think this quote that I pulled from the textbook, Literary Theory: An Anthology, shows how psychoanalytic theory is applicable to literature. Literature, like dreams, cannot explicitly express themselves and in order to do so, they must express obliquely, or through symbolism and metaphor. I think this is a wonderful idea because if a person were to look at this closely, it would almost seem that this doesn’t make sense. An author writes the work, so why can’t literature speak explicitly?

From my own understanding of psychoanalytic criticism, the reason is because the author, him or herself, is writing the work as a kind of “fantasy”; the work can be looked at as a dream the author is communicating through while awake. The writer writes a literary work with the unconscious working alongside the conscious, or it would be better said that the unconscious works “beneath” the conscious where it remains hidden. An example of this is found in Freud’s own The Interpretation of Dreams, specifically in the portion of the book where Freud psychoanalyzes Hamlet. After discussing Hamlet’s protagonist and concluding that Hamlet’s Oedipus Complex is heavily at work throughout the play, Freud shifts his argument away from the protagonist in Hamlet to the author, Shakespeare, himself. Freud claims that “It can, of course, be only the poet’s own psychology with which we are confronted in Hamlet.” Evidence of this, in Freud’s view of Shakespeare’s work is largely found in two facts about the author’s life: Hamlet was “composed immediately after the death of Shakespeare’s father (1601)” (Freud 112) and through mourning and “during a revival” aspects of Shakespeare’s own childish feelings inspired a work where the main character loses his father as well (112). One of the biggest indicators for Freud believing much of what’s written in Hamlet has to do with the author’s life is the name “Hamlet.” Shakespeare’s son, who died during childhood, had been named “Hamnet.” The names of “Hamlet” and “Hamnet” are too similar for Freud not to have tried to psychoanalyze the author through his work. As Freud concludes the portion of The Interpretation of Dreams, Freud states that he “attempted to interpret only the deepest stratum of impulses in the mind of the creative poet” (112).

While it’s feasible that Shakespeare consciously made the decisions to write Hamlet in the way he did, looking at Freud’s interpretation of Shakespeare’s work, the play is merely acting as a dream in which Shakespeare’s own lamentations are free to work their way from the subconscious to Hamlet. This “dream” idea is something that intrigues me for some reason or another and I think it’s because of the implications is has for literature. It makes me think about my own works and I think that it would be interesting to see what psychoanalytic criticism would say for my works and of me as well. Gembird Usb To Irda Driver Windows 8.