Archetypal Literary Criticism

Archetypal literary criticism is a type of critical theory that interprets a text by focusing on recurring myths and archetypes (from the Greek archē, or beginning, and typos, or imprint) in the narrative, symbols, images, and character types in a literary work. As a form of literary criticism, it dates back to 1934 when Maud Bodkin published Archetypal Patterns in Poetry.

Archetypal literary criticism’s origins are rooted in two other academic disciplines, social anthropology and psychoanalysis; each contributed to the literary criticism in separate ways, with the latter being a sub-branch of the critical theory. Archetypal criticism was its most popular in the 1940s and 1950s, largely due to the work of Canadian literary critic Northrop Frye. Though archetypal literary criticism is no longer widely practiced, nor have there been any major developments in the field, it still has a place in the tradition of literary studies.

Read more about Archetypal Literary Criticism:  Frye, Theory Critiques, Examples of Archetypes in Literature

Other articles related to "archetypal literary criticism, archetypal":

Archetypal Literary Criticism - Examples of Archetypes in Literature
... Archetypal symbols vary more than archetype narratives or character types ... The best archetypal pattern is any symbol with deep roots in a culture's mythology, such as the forbidden fruit in Genesis or even the poison apple in Snow White ... These are examples of symbols that resonate with archetypal critics ...

Famous quotes containing the words criticism, archetypal and/or literary:

    I hold with the old-fashioned criticism that Browning is not really a poet, that he has all the gifts but the one needful and the pearls without the string; rather one should say raw nuggets and rough diamonds.
    Gerard Manley Hopkins (1844–1889)

    Now all the knowledge and wisdom that is in creatures, whether angels or men, is nothing else but a participation of that one eternal, immutable and increated wisdom of God, or several signatures of that one archetypal seal, or like so many multiplied reflections of one and the same face, made in several glasses, whereof some are clearer, some obscurer, some standing nearer, some further off.
    Ralph J. Cudworth (1617–1688)

    The face of nature and civilization in this our country is to a certain point a very sufficient literary field. But it will yield its secrets only to a really grasping imagination.... To write well and worthily of American things one need even more than elsewhere to be a master.
    Henry James (1843–1916)