CHAPTER 1
INTRODUCTION
1.1 Background
Studying the author in literary studies mean
studying the movement in literature. Several authors ‘move’ their works based
on several movements. This approach
is focused on the existence of the author as creator of a work of art. This
approach looks at the ability of an author in the birth of a literary work. The
ability of the author to produce a literary work became the object of study of
the reviewers of a literary work that uses expressive approach. Background
author certainly affects a literary work made, such as the author was a
religious man, of course, literary works produced will with religious nuances.
Experience an author in his childhood can also affect literary works he made,
the more authors that have a conflict, the more work produced. Author-oriented
approach can be divided into three discussion, namely: biographical criticism,
psychoanalytic criticism and phenomenology.
1.2 Problem
Formulation
1. What is biographical criticism.?
2. What is psychoanalytic criticism.?
3. What phenomenology.?
1.3 Purpose
1. Expalain and tell about Author oriented approaches.
2. Get a new knowledge about Author oriented
approaches and tell more details about Author oriented approaches.
CHAPTER II
DISCUSSION
2.1 Biographical criticism.
Biographical criticism is the theory that
literature can be best understood as a product of the individual author's life
story and a response to the particular events of the author's life at the time
of composition. In the nineteenth century, before the major formalist-structuralist theories of the twentieth century, biographical criticism evolved and became a dominant movement. This author-oriented approach established a direct link between the literary text and the biography of the author. Dates, facts, and events in an author’s life are juxtaposed with literary elements of his or her works in order to find aspects which connect the biography of the author with the text. Research into the milieu and education of the author is conducted and then related to certain phenomena in the text. In addition, an author’s library can be examined in order to gain insight into the author’s background reading orlettersand diaries may be consulted for personal reflections. [1]
As early as the nineteenth century, scholars considered literary texts
against the background of the author’s biography. The aim was to find
references to the author’s life, education and socio-cultural environment in a
literary work. Ever since the French critic Roland Barthes announced the “death
of the author” in 1968, the biographical approach has lost its appeal for many
scholars. Barthes and critics following him have argued that an author’s
biography is irrelevant since the meaning of a text only emerges in the reading
process and the reader thus becomes the real ‘author’ of the text. One could
argue against this radical viewpoint that there are texts where knowledge of an
author’s biography can sometimes help us understand the text better because otherwise
we would not be able to decipher certain allusions or references. D.H. Lawrence’s novel Sons and Lovers (1913), for example, draws heavily on
Lawrence’s own family background. Bearing this knowledge in mind, it is then
interesting to see where the literary text deviates from references to the
author’s real life.
This approach begins with the simple but central
insight that literature is written by actual people and that understanding an
author’s life can help readers more thoroughly comprehend the work. Hence, it
often affords a practical method by which readers can better understand a text.
However, a biographical critic must be careful not to take the biographical
facts of a writer’s life too far in criticizing the works of that writer: the
biographical critic “focuses on explicating the literary work by using the
insight provided by knowledge of the author’s life. Biographical data should
amplify the meaning of the text, not drown it out with irrelevant material.
2.2 Psychoanalytic criticism.
Psychoanalytic literary criticism is
literary criticism or literary theory which, in method, concept, or form, is
influenced by the tradition of psychoanalysis begun by Sigmund Freud.[2] This approach reflects the effect that modern psychology has had upon
both literature and literary criticism. Fundamental figures in psychological
criticism include Sigmund Freud, whose “psychoanalytic theories changed our
notions of human behavior by exploring new or controversial areas like
wish-fulfillment, sexuality, the unconscious, and repression” as well as
expanding our understanding of how “language and symbols operate by
demonstrating their ability to reflect unconscious fears or desires”; and Carl
Jung, whose theories about the unconscious are also a key foundation of Mythological Criticism. Psychological criticism has a number of approaches, but in general, it
usually employs one (or more) of three approaches :
- An investigation of “the creative process of the artist: what is the nature of literary genius and how does it relate to normal mental functions?”
- The psychological study of a particular artist, usually noting how an author’s biographical circumstances affect or influence their motivations and/or behavior.
- The analysis of fictional characters using the language and methods of psychology.
Psychoanalytic a literary criticism that is sometimes associated
with the author, especially trying to explain the general psychological aspects
in the text that are not necessarily related to the author exclusively.
23.3
Phenomenology.
This approach assumes that the author is present in the text in
encoded form and spirit can be revived by intensive reading the whole works.
This approach assumes that of a literary work can be in the know the
characteristics of the author. Phenomenology is a method of Literary Criticism
which inspects the text without presuppositions about ontology or epistemology.
(Ontology is the theory of the nature of being, Epistemology that of the nature
of knowledge). [3]
To the phenomenologist any object, although it has existance in time and space,
achieves meaning or intelligibility through the active use of a consciousness
in which the object registers. Phenomenology finds reality in the physical
realm of awareness. To accomplish the analysis of the object as it registers in
the consciousness, the phenomenologist suspends all presuppositions,
inferences, or judgements about the object outside the consciousness.
Phenomenological criticism sees the work of art as an aesthetic work, existing
only in the mind of the perceiver. they tend to have little interest in the
ontology of the aesthetic object, a major concern of the New Critics, and
instead value the affective aspects of he work.
BAB III
CLOSING
3.1
Conclusion.
Author-oriented approach established a direct link between the literary
text and the biography of the author. Dates, facts, and events in an author’s
life are juxtaposed with literary elements of his or her works in order to find
aspects which connect the biography of the author with the text. It consist of
three elements are : biographical oriented approaches, psychoanalytic
criticism, and phenomenology.
3.2
Advice.
We realized this assignment is not perfect. Actually, but we hope
that it can be useful for us. Critics and suggestions
needed here to make this assignment be better.
REFERENCES
http://www2.anglistik.uni-freiburg.
de/intranet/englishbasics/Theory02. html
Klarer, Mario. An
Introduction to LiteraryStudies. Penerbit Roudledge : London & New York.
2004
Wikipedia. Com
[1]
Klarer,Mario.An
Introduction to LiteraryStudies.Penerbit Roudledge:London &New
York.2004
[2] Wikipedia. com
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