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Using Critical Theory

“I know of no other book on critical theory for beginning and intermediate

students that offers the same depth and breath. It offers thorough and clear
applications of each theory while its rhetorical tone puts students at ease as
they attempt to think about the world in new and different ways ... [this] is
the perfect text for students new to critical theory and stands in a league of its
own.”
Gretchen Cline, Muskegon Community College, USA

Explaining both why theory is important and how to use it, Lois Tyson
introduces beginning students of literature to this often daunting area in a
friendly and approachable style. The new edition of this textbook is clearly
structured with chapters based on major theories that students are expected to
cover in their studies.
Key features include:

coverage of all major theories including psychoanalysis, Marxism,

feminism, lesbian/gay/queer theories, postcolonial theory, African
American theory, and a new chapter on New Criticism (formalism)
practical demonstrations of how to use these theories on short literary
works selected from canonical authors including William Faulkner and
Alice Walker
a new chapter on reader-response theory that shows students how to
use their personal responses to literature while avoiding typical pitfalls
new sections on cultural criticism for each chapter
new “further practice” and “further reading” sections for each chapter
 a useful “next-step” appendix that suggests additional literary examples
for extra practice.

Comprehensive, easy to use, and fully updated throughout, Using Critical

Theory is the ideal first step for students beginning degrees in literature,
composition, and cultural studies.
Lois Tyson is Professor of English at Grand Valley State University, USA.
She is the author of Critical Theory Today: A User-Friendly Guide (2nd
edition, Routledge, 2006).
Using Critical Theory

How to read and write about literature

Second edition

Lois Tyson
First edition published as Learning for a Diverse World 2001
by Routledge
This edition published as Using Critical Theory 2011
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canada
by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2001, 2011 Lois Tyson
The right of Lois Tyson to be identified as author of this work has been
asserted by her in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilized in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from
the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
Tyson, Lois, 1950-
Using critical theory: how to read and write about literature / Lois Tyson.
p. cm.
Includes bibliographical references and index.
1. Criticism. 2. Critical theory. I. Title.
PN98.S6T973 2011
801’.95 – dc22
2011008274
ISBN: 978-0-415-61616-4 (hbk)
ISBN: 978-0-415-61617-1 (pbk)
ISBN: 978-0-203-80509-1 (ebk)
Typeset in Bembo
by Taylor & Francis Books
For Mac Davis and the late Stephen Lacey,
who both know that a good teacher is one
who remains a good student.
Contents

Preface for instructors

Acknowledgments
Permissions

1 Critical theory and you

What does critical theory have to do with me?

What will I learn about critical theory from this book?
Critical theory and cultural criticism
Three questions about interpretation most students ask
My interpretation is my opinion, so how can it be wrong?
Do authors deliberately use concepts from critical theories when they write literary works?
How can we interpret a literary work without knowing what the author intended the work to
mean?
Why feeling confused can be a good sign

2 Using concepts from reader-response theory to understand our own

literary interpretations

Why should we learn about reader-response theory?

Response vehicles
Personal identification
The familiar character
The familiar plot event
 The familiar setting
Response exercises
Personal-identification exercise
Familiar-character exercise
Familiar-plot-event exercise
Familiar-setting exercise
How our personal responses can help or hinder interpretation
The “symbolic leap”
The difference between representing and endorsing human behavior
Using our personal responses to generate paper topics
Food for further thought
Thinking it over
Reader-response theory and cultural criticism
Taking the next step
Exercises for further practice
Suggestions for further reading

3 Using concepts from New Critical theory to understand literature

Why should we learn about New Critical theory?

Basic concepts
Theme
Formal elements
Unity
Close reading and textual evidence
Interpretation exercises
Appreciating the importance of tradition: Interpreting “Everyday Use”
Recognizing the presence of death: Interpreting “A Rose for Emily”
Understanding the power of alienation: Interpreting “The Battle Royal”
Respecting the importance of nonconformity: Interpreting “Don't Explain”
Responding to the challenge of the unknown: Interpreting “I started Early—Took my Dog”
Food for further thought
Thinking it over
New Critical theory and cultural criticism
Taking the next step
Questions for further practice
Suggestions for further reading
4 Using concepts from psychoanalytic theory to understand literature

Why should we learn about psychoanalytic theory?

Basic concepts
The family
Repression and the unconscious
The defenses
Core issues
Dream symbolism
Interpretation exercises
Analyzing characters’ dysfunctional behavior: Interpreting “Everyday Use”
Exploring a character's insanity: Interpreting “A Rose for Emily”
Understanding dream images in literature: Interpreting “I started Early—Took my Dog”
Recognizing a character's self-healing: Interpreting “Don't Explain”
Using psychoanalytic concepts in service of other theories: Interpreting “The Battle Royal”
Food for further thought
Thinking it over
Psychoanalytic theory and cultural criticism
Taking the next step
Questions for further practice
Suggestions for further reading

5 Using concepts from Marxist theory to understand literature

Why should we learn about Marxist theory?

Basic concepts
Classism
Capitalism
Capitalist ideologies
The role of religion
Interpretation exercises
Understanding the operations of capitalism: Interpreting “Everyday use”
Recognizing the operations of the American Dream: Interpreting “The Battle Royal”
Analyzing the operations of classism: Interpreting “A Rose for Emily”
Resisting classism: Interpreting “Don't Explain”
Learning when not to use Marxist concepts: Resisting the temptation to interpret “I started Early
—Took my Dog”
Food for further thought
Thinking it over
 Marxist theory and cultural criticism
Taking the next step
Questions for further practice
Suggestions for further reading

6 Using concepts from feminist theory to understand literature

Why should we learn about feminist theory?

Basic concepts
Patriarchy
Traditional gender roles
The objectification of women
Sexism
The “cult of ‘true womanhood’”
Interpretation exercises
Rejecting the objectification of women: Interpreting “The Battle Royal”
Resisting patriarchal ideology: Interpreting “Don't Explain”
Recognizing a conflicted attitude toward patriarchy: Interpreting “Everyday Use”
Analyzing a sexist text: Interpreting “A Rose for Emily”
Understanding patriarchy's psychological oppression of women: Interpreting “I started Early—
Took my Dog”
Food for further thought
Thinking it over
Feminist theory and cultural criticism
Taking the next step
Questions for further practice
Suggestions for further reading

7 Using concepts from lesbian, gay, and queer theories to understand

literature

Why should we learn about lesbian, gay, and queer theories?

Basic concepts
Heterosexism
Homophobia
Homosocial activities
The woman-identified woman
Homoerotic imagery
Queer theory
 Interpretation exercises
Rejecting lesbian stereotypes: Interpreting “Don't Explain”
Analyzing homophobia: Interpreting “The Battle Royal”
Recognizing the woman-identified woman in a heterosexual text: Interpreting “Everyday Use”
Using queer theory: Interpreting “A Rose for Emily”
Drawing upon context: Interpreting “I started Early—Took my Dog”
Food for further thought
Thinking it over
Lesbian, gay, and queer theories and cultural criticism
Taking the next step
Questions for further practice
Suggestions for further reading

8 Using concepts from African American theory to understand

literature

Why should we learn about African American theory?

Basic concepts
African American culture and literature
Racism
Forms of racism
Double consciousness
Interpretation exercises
Analyzing the overt operations of institutionalized racism: Interpreting “The Battle Royal”
Recognizing the “less visible” operations of institutionalized racism: Interpreting “Don't
Explain”
Understanding the operations of internalized racism: Interpreting “Everyday Use”
Exploring the function of black characters in white literature: Interpreting “A Rose for Emily”
Learning when not to use African American concepts: Resisting the temptation to interpret “I
started Early—Took my Dog”
Food for further thought
Thinking it over
African American theory and cultural criticism
Taking the next step
Questions for further practice
Suggestions for further reading

9 Using concepts from postcolonial theory to understand literature

 Why should we learn about postcolonial theory?
Basic concepts
Colonialist ideology
The colonial subject
Anticolonialist resistance
Interpretation exercises
Understanding colonialist ideology: Interpreting “The Battle Royal”
Analyzing the colonial subject: Interpreting “Everyday Use”
Exploring the influence of cultural categories: Interpreting “A Rose for Emily”
Appreciating anticolonialist resistance: Interpreting “Don't Explain”
Recognizing the othering of nature: Interpreting “I started Early—Took my Dog”
Food for further thought
Thinking it over
Postcolonial theory and cultural criticism
Taking the next step
Questions for further practice
Suggestions for further reading

10 Holding on to what you've learned

A shorthand overview of our eight critical theories

A shorthand overview of our literary interpretation exercises
“Everyday Use”
“The Battle Royal”
“A Rose for Emily”
“Don't Explain”
“I started Early—Took my Dog”
A shorthand overview of the range of perspectives offered by each
theory
Critical theory and cultural criticism revisited
Critical theory and an ethics for a diverse world

Appendices

Appendix A: “I started Early—Took my Dog” (Emily Dickinson, c.

1862)
Appendix B: “A Rose for Emily” (William Faulkner, 1931)
Appendix C: “The Battle Royal” (Ralph Ellison, 1952)
Appendix D: “Everyday Use” (Alice Walker, 1973)
Appendix E: “Don't Explain” (Jewelle Gomez, 1987)
Appendix F: Additional literary works for further practice

Index
Preface for instructors

If you're planning to use this book in your undergraduate classroom, then you
know that critical theory is no longer considered an abstract discipline for a
select group of graduate students, as it was fifteen or twenty years ago.
Personally, I don't think critical theory should ever have been limited to that
mode of thinking or to that audience. In its most concrete and, I think, most
meaningful form, critical theory supplies us with a remarkable collection of
pedagogical tools to help students, regardless of their educational
background, develop their ability to reason logically; to formulate an
argument; to grasp divergent points of view; to make connections among
literature, history, the society in which they live, and their personal
experience; and of special importance on our shrinking planet, to explore
human diversity in its most profound and personal sense: as diverse ways of
defining oneself and one's world. From this perspective, critical theory is an
appropriate pedagogical resource not only for advanced literature courses, but
for the kinds of meat-and-potatoes courses that many of us teach: foundation-
level literature courses; introduction-to-literary-studies courses; diversity
courses; and composition courses that stress critical thinking, social issues, or
cultural diversity.

Creating pedagogical options

For most of us who see the pedagogical potential of critical theory, the
question then becomes: “How can I adapt critical frameworks to make them
useful to students new to the study of literature and to the social issues
literature raises?” That is precisely the question Using Critical Theory
attempts to answer by offering you: (1) a reader-response chapter to help
students recognize and make interpretive use of their personal responses to
literature; (2) seven carefully selected theoretical approaches to literary
interpretation—introducing the fundamentals of New Critical,
psychoanalytic, feminist, lesbian/gay/queer, African American, and
postcolonial theories—from which to choose; and (3) five different ways to
use each of these approaches through the vehicle of our “Interpretation
exercises,” the step-by-step development of sample interpretations of the five
literary works reprinted at the end of this book. Now, the key word here is
choice. I think we do our best teaching when we adapt our materials to our
own pedagogical goals and teaching styles. For example, you can employ
Using Critical Theory to structure an entire course, to create a unit or units on
specific theoretical approaches, or to supplement the teaching of specific
literary works with an increased repertoire of possible interpretations. To
provide maximum flexibility, each chapter is written to stand on its own, so
you can choose which of the selected theoretical frameworks you want to use.
Each interpretation exercise is also written to stand on its own, so you can
choose which of the selected literary works you want to use.
I hope the structure of these chapters will facilitate your own creation of
classroom activities and homework assignments. For example, students can
work in small groups to find the textual data required by a given
interpretation exercise, and that activity can be organized in a number of
ways. Each group can work on a different section of the same interpretation
exercise, thereby each contributing a piece of the puzzle to a single
interpretation. Or each group can work on a different interpretation exercise
from a single chapter, thereby using concepts from the same theory to
complete interpretation exercises for different literary works. Or if students
feel they fully understand a given interpretation exercise, you might invite
them to develop one of the alternative interpretations suggested in the
“Focusing your essay” section at the end of each interpretation exercise or to
develop an interpretation of their own. Finally, once the class has become
acquainted with a few different theories, different groups of students can use
different theoretical approaches to collect textual data from the same literary
work, thereby getting an immediate sense of the ways in which concepts from
different critical theories can foreground different aspects of the same literary
work or foreground the same aspect of a literary work for different purposes.
Similarly, the “Basic concepts” sections of Chapters 3 through 9 can be
used to generate activities by having students apply these concepts to short
literary works other than those used in this book. For example, students can
be given—singly, in pairs, or in small groups—one of the basic concepts of a
single theory and asked to find all the ways in which that concept is
illustrated in or relevant to any literary work you assign. Or you might allow
students to select one of the basic concepts of a theory the class is studying
and explain to their classmates how an understanding of that concept helps
illuminate the lyrics of a song of their own choosing, a magazine
advertisement, a video game, or some other production of popular culture.
To whatever uses you put this book, I think you'll find that the seven
theoretical approaches it introduces, taken in any combination, provide a
comparative experience, a sense of how our perceptions can change when we
change the lens through which we're looking. In this way, these theories, all
of which are in current academic use, can help students develop a concrete,
productive understanding of the diverse world in which we live. Our five
literary works—Emily Dickinson's “I started Early—Took my Dog” (c.
1862), William Faulkner's “A Rose for Emily” (1931), Ralph Ellison's “The
Battle Royal” (1952), Alice Walker's “Everyday Use” (1973), and Jewelle
Gomez's “Don't Explain” (1987)—were chosen because each lends itself to
our selected theories in ways that are accessible to novices and that are
typical of the kinds of perspectives on literature each theory offers us. Thus,
each interpretation exercise serves as a template for future literary analysis. In
addition, our five literary works are heavily weighted in favor of fiction
because I have found that most novices respond most readily to stories and,
indeed, most of the drama and much of the poetry we offer our introductory-
level literature and composition students have a perceptible narrative
dimension. Thus, the interpretive skills and strategies students learn here will
carry over to the interpretation of works from other literary genres, genres
which are represented in each chapter's “Questions for further practice” and
in the “Literary works for further practice” provided in Appendix F.

Responding to pedagogical challenges

Of course, Using Critical Theory is not intended as a complete introduction-
to-literature textbook: for example, it does not define such basic literary
vocabulary as plot, character, setting, stage directions, rhyme, or meter.
Nevertheless, the book addresses several common problems encountered by
students new to the study of literature, problems which I suspect you've
encountered in the classroom many times. For example, Chapter 1, “Critical
theory and you,” explains, among other things, the difference between an
opinion and a thesis, the purpose of a literary interpretation, and how we can
analyze the meaning of a literary work without knowing what the author
intended. Chapter 2, “Using concepts from reader-response theory to
understand our own literary interpretations,” includes an explanation of the
difference between a symbolic interpretation justified by the literary work
and a symbolic interpretation arbitrarily imposed by a reader's personal
response to the work. This same chapter also explains the difference between
a text's representation of human behavior and its endorsement of that
behavior, which students’ personal responses to a literary work often lead
them to confuse. Chapter 3, “Using concepts from New Critical theory to
understand literature,” aims to solidify students’ understanding of thesis-and-
support argumentation, which remains an area of pedagogical frustration for
many of us. Moreover, the interpretation exercises provided in Chapters 4
through 9, in addition to their primary function as sample literary applications
of our remaining selected theories, are all lessons in close reading, for each
exercise guides students through the process of collecting textual evidence to
support the interpretation at hand. Students are thus encouraged to see the
equal importance of two aspects of current critical practice that they often
mistakenly believe are mutually exclusive: (1) that there is more than one
valid interpretation of a literary text; and (2) that every interpretation requires
adequate textual support. The goal here is to correct a misconception you've
probably encountered in the classroom all too often: once students have
accepted that there is no single correct interpretation of a literary work, they
frequently conclude that their own interpretations do not need to be supported
with textual evidence. Finally, Chapter 10, “Holding on to what you've
learned,” in addition to its other functions, brings students back to the kind of
personal connection that opens Chapter 1: how their study of critical theory
can help them understand, develop, and articulate their personal values within
the context of the changing world in which they live.
Perhaps you will find, as I have, that this last connection—between
students’ sense of themselves as individuals and the cultures that shape them
—is the most valuable connection the study of critical theory can help
students make. For it is a connection that has the capacity to spark
imaginative inquiry in every domain of their education. And it seems to me
that few things motivate students more thoroughly—if we can just find the
keys that open those doors—than their own imaginations.
Acknowledgments

My sincere gratitude goes to the following friends and colleagues for their
many and varied acts of kindness during the writing of this book: the late
Forrest Armstrong, Kathleen Blumreich, Brent Chesley, Patricia Clark,
Dianne Griffin Crowder, Michelle DeRose, Milt Ford, Roger Gilles, Chance
Guyette, Michael Hartnett, Avis Hewitt, Rick Iadonisi, Regina Salmi,
Christopher Shinn, Gary Stark, Veta Tucker, and Brian White.
Special thanks also go to Dean Frederick Antczak; to Grand Valley State
University for its generous financial support of this project; and to my editors
at Routledge, Emma Nugent and Polly Dodson.
Finally, the deepest appreciation is expressed to Hannah Berkowitz,
Jeremy Franceschi, Gretchen Cline, and, especially, Mac Davis for service
above and beyond the call of friendship—and to Lenny Briscoe for his
untiring and invaluable support.
Permissions

“I started early—took my dog” by Emily Dickinson – Reprinted by

permission of the publishers and the Trustees of Amherst College from The
Poems of Emily Dickinson, Thomas H. Johnson, ed., Cambridge, Mass.: The
Belknap Press of Harvard University Press, Copyright © 1951, 1955, 1979,
1983 by the President and Fellows of Harvard College.

“A Rose for Emily” by William Faulkner – Reproduced with permission of

Curtis Brown Group Ltd, London on behalf of The Estate of William
Faulkner, Copyright © William Faulkner 1931.

“Rose for Emily”, copyright © 1930 and renewed 1958 by William

Faulkner, from Collected Stories of William Faulkner by William Faulkner.
Used by permission of Random House, Inc.

“A Rose for Emily”. Copyright 1930 & renewed 1958 by William

Faulkner, from Collected Stories of William Faulkner by William Faulkner.
Used by permission of W. W. Norton & Company, Inc.

“Battle Royal”, copyright © 1948 by Ralph Ellison, from Invisible Man by

Ralph Ellison. Used by permission of Random House, Inc.

“Everyday Use” from In Love & Trouble: Stories of Black Women,

copyright © 1973 by Alice Walker, reprinted by permission of Harcourt, Inc.

Every effort has been made to trace and contact copyright holders. The
publishers would be pleased to hear from any copyright holders not
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