In a rare fusion of literary sensibility with psychological research, Norman N. Holland brings to light important data showing how personality—in the fullest sense of character development and identity—affects the way in which we read and interpret literature. This book will show that readers respond to literature in terms of their own lifestyle, character, personality, or identity. By such terms, psychoanalytic writers mean an individual's characteristic way of dealing with the demands of outer and inner reality. Each new experience develops the style, while the pre-existing style shapes each new experience. The sub-title of this book, Five Readers Reading, reflects the fact that the author, a distinguished literary critic, worked with five student readers, using a battery of psychological tests and extensive interviews to study the ways they reacted to classic short stories by Faulkner, Hemingway, and others. Combining his own interpretation of the stories with his understanding of the readers and their reactions, Holland derives four principles that inform literary response. He then goes on to show how these principles apply, not just to literary response, but to the way personality shapes any experience. The book carries Holland's previous studies of creation and responsive recreation forward to a major theoretical statement. He rejects the artificial idea that one must think of a text (or other event) as separate from its perceivers, illustrating the dynamics by which perceiver and perceived mutually create an experience. For critics and students of the psychology of human behavior, this is challenging and seminal reading.
As psychoanalysis becomes more and more important to literary studies and the accompanying literature bulks larger and larger, students often feel overwhelmed, not knowing where to turn for readings that will open up the subject. Holland's Guide to Psychoanalytic Psychology and Literature-and-Psychology offers an ingenious solution to this problem. It provides concise outlines of all types of psychoanalytic theory and shows how they apply to literary criticism. The outlines point in turn to further, more specific readings--articles, essays, and books--which can then be located by two extensive bibliographies that follow the discussion. These offer materials that range from the earliest Freud to the latest cognitive science and include dozens of bibliographic aids. Holland integrates these suggested readings with lively, detailed comments on various psychologies as they relate to literature. He is thus able to guide students easily to the precise subject they wish to study, be it Jungian criticism, ego psychology, feminist psychoanalysis, psychoanalytic film theory, or interpretation of some specific text. Holland also offers a bracing discussion of reader-response criticism and a lucid guide to the work of Jacques Lacan. A trenchant epilogue defends the psychological approach, suggesting which points in psychoanalytic theory will work for literary critics, and which will not. The only such guidebook for students of psychoanalytic literary theory and literary criticism, Holland's Guide will also prove an invaluable aid for those studying psychoanalysis and psychology.
Together he and the professor explore the minds and writings of the people in the seminar in order to track the murderer, then another body is found, pointing them in a different direction.
Casablanca, for example, provides millions with a sense of satisfaction. Why? How did this movie about World War II satisfy an adolescent boy afraid of "not being a man," but too young to be in the military? How did such an outrageously sentimental film enable Holland (and many others) to deal with the scary state of the world in 1942 and, indeed, ever since?" "Meeting Movies poses such questions again and again. As a professor of literature and film, Holland feels compelled to interpret. Yet, beneath and beyond his intellectualizing, a variety of half-conscious personal considerations and recurring themes color his feelings and hence his interpretations. And this, he claims, is true for all of us."--Jacket.
Describes Delphi seminars, a teaching method developed by the authors during the 1970's at the Center for the Psychological Study of the Arts at the State University of New York, Buffalo. Designed primarily for the teaching of literature and the arts, the method can be applied to any subject at any level. The goal of the Delphi seminars is to engage students with the subject matter beginning with their personal experiences with the text.
Originally published in 1988,this book brings brain science to literary criticism. The Brain of Robert Frost combines psychoanalysis with the findings of brain research and cognitive psychology to model the way we create and respond to literature. Norman Holland draws three central ideas from ‘the mind’s new science’: the critical ‘supercharged’ period in infancy when individuality is formed; the binding of emotion to intellect deep in the old brain; the top-down, inside-out,feedback processing of language in the new.Then, using Robert Frost as an example both of a writer and a reader, and comparing Frost’s reading of a poem to readings by six professors of literature, Holland builds a new, powerful way of thinking about literary criticism and teaching.A book about literary cognition,The Brain of Robert Frost furthers our understanding of the reading process, of poet’s brains,and of our own.
In a rare fusion of literary sensibility with psychological research, Norman N. Holland brings to light important data showing how personality—in the fullest sense of character development and identity—affects the way in which we read and interpret literature. This book will show that readers respond to literature in terms of their own lifestyle, character, personality, or identity. By such terms, psychoanalytic writers mean an individual's characteristic way of dealing with the demands of outer and inner reality. Each new experience develops the style, while the pre-existing style shapes each new experience. The sub-title of this book, Five Readers Reading, reflects the fact that the author, a distinguished literary critic, worked with five student readers, using a battery of psychological tests and extensive interviews to study the ways they reacted to classic short stories by Faulkner, Hemingway, and others. Combining his own interpretation of the stories with his understanding of the readers and their reactions, Holland derives four principles that inform literary response. He then goes on to show how these principles apply, not just to literary response, but to the way personality shapes any experience. The book carries Holland's previous studies of creation and responsive recreation forward to a major theoretical statement. He rejects the artificial idea that one must think of a text (or other event) as separate from its perceivers, illustrating the dynamics by which perceiver and perceived mutually create an experience. For critics and students of the psychology of human behavior, this is challenging and seminal reading.
It is a melancholy thought that as soon as reforms are put into practice, disillusionment enters the political scene...' Norman Gash's Ford Lectures, originally delivered at Oxford in 1964, address an era of reform that followed the Repeal of the Test and Corporation Acts in 1828, Catholic Emancipation in 1829, and the Reform Act of 1832. The history of this period has often focused on the conflicts that proved necessary before the Acts came to pass. But it was only after 1832 that the real crisis of reform emerged: the clash between what had actually been done, and what men thought should be the consequences of what had been done. As Gash notes of the arguments over the Reform Bill of 1831, "substantially the foundations for the Victorian two-party system were laid by the divisions of politicians into Reformers and Conservatives.
Asserting that literary theory needs a dose of common sense, this treatise attacks Saussurean linguistics as outmoded and discredited in its elimination of its subjects. It claims that postmodernist ideas of the individual rest on false linguistic and psychological premises.
Together he and the professor explore the minds and writings of the people in the seminar in order to track the murderer, then another body is found, pointing them in a different direction.
The'I' in the title pertains to the core of self that persists over time. These are challenges that elude people like social scientists, philosophers, or critics of literature and the arts, who would chronicle or explain humanity's doings. This informative, engaging, and joyous book by Norman N. Holland offers a usable model for the aesthetics, psychology, history, and science of the human subject.Holland begins by modeling the self as a theme and variations, constant yet constantly changing. He shows how symbolization, perception, cognition, and memory all contribute to the sense of I, hence how any one I grows out of a specific history and culture but also out of experiences all humans share.Holland proposes a scientific psychology based on his model, fusing the experiments of academic psychology with the insights of psychoanalysis. He illustrates his theory by the lives of George Bernard Shaw, Scott Fitzgerald, and other writers, as well as Freud's patient "Little Hans," in adulthood a famed stage director at the Metropolitan Opera. The I and Being Human attempts nothing less than to draw together aspects of the self, such as objectivity and subjectivity, that have eluded connection. In so doing, Norman Holland offers a rereading of psychoanalysis as a theory of the I.
LITERATURE AND THE BRAIN goes straight to the human core of literature when it explains the different ways our brains convert stories, poems, plays, and films into pleasure. When we are deep into a film or book, we find ourselves "absorbed," unaware of our bodies or our surroundings. We don't doubt the existence of Spider-Man or Harry Potter, and we have real feelings about these purely imaginary beings. Our brains are behaving oddly, because we know we cannot act to change what we are seeing. This is only one of the special ways our brains behave with literature, ways that LITERATURE AND THE BRAIN reveals.
Asserting that literary theory needs a dose of common sense, this treatise attacks Saussurean linguistics as outmoded and discredited in its elimination of its subjects. It claims that postmodernist ideas of the individual rest on false linguistic and psychological premises.
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