LINGUISTIC CRITICISM

If we lived in a colonization where solely we take ind was the speech of our expanse, we would not notice the changes that took lay over clip beca persona they would be gradual. We would notice slight shifts in terms of new extensions, much as we can key in our own society as the younger generation in essence invents some language of its own in order to differentiate it from the adult world. Such variations atomic number 18 more extensive than atomic number 18 appargonnt from generation to generation, and over time the language can change considerably. In any case, on that point are variations that might be apparent if one colonisation or region were compared to another or one loving class within a village or region were compared to another. Language exists in variation within different subunits of a society as well, and much of the variation is embodied in literature.

F.R. Leavis indicates some of the occupations in literary criticism that prevailed for a broad time prior to the structuralist period. He refers to the perspective of the Romantic faultfinding tradition, for instance, which held that on that point was a set of ideas and attitudes about literary construct which laid emphasis on inspiration and the individual genius. This strain was attacked by T.S. Eliot, who places his stress on things other than individual talents and original impulse. A new recognition developed of the magnificence of the language itself, as Leavis notes with reference to William Blake:

Blake uses the English language, and not

The structuralist approach to literature owes much to lingual studies and to ideas about language in general. Northrop Frye applies the structuralist approach to Lycidas by Milton and finds that there are certain principles involved which should be applied to all works and which help the critic understand the shaping of the language into this particular structure and form. He says there are quartet creative principles of particular importance, which he says does not mean they are separable.

The first is convention, or the reshaping of the poetic material which is appropriate to this overmaster; a second is genre, the choosing of the appropriate form; the third is archetype, the use of appropriate, and therefore recurring, images and symbols; and the fourth is the fact that the forms of literature are self-reliant and do not exist outside of literature. Scholarship in general is praised by Frye as being a indispensable condition for understanding literature, and he says that value judgments are open on scholarship:

In the old model utterers are in the business of handing over ready-made or prefabricated meanings. These meanings are said to be encoded, and the code is assumed to be in the world independently of the individuals who are obliged to attach themselves to it. . . In my model, however, meanings are not extracted but made and made not by encoded forms but by interpretive strategies that call forms into being. It follows that what utterers hear do is give hearers and readers the opportunity to make meanings (and texts) by inviting them to institutionalize into execution a set of strategies.

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