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Literary Criticism and Sula. Philological Studies: Biographical Criticism (Schakel 1481)Historical Criticism (Schakel 1482)Marxist Criticism (Schakel 1482)Psychological Criticism (Schakel 1483)Mythological Criticism (Schakel 1485)New Criticism/Formalism (Schakel 1486)Reader-Response Criticis
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1. Literary Criticism and Sula Philological Studies: The scientific study of language and literature that includes language study, preparation of scholarly editions with accurate texts, and examinations of literary backgrounds, sources, and influences.
(Schakel 1481)
2. Literary Criticism and Sula Philological Studies:
Biographical Criticism (Schakel 1481)
Historical Criticism (Schakel 1482)
Marxist Criticism (Schakel 1482)
Psychological Criticism (Schakel 1483)
Mythological Criticism (Schakel 1485)
New Criticism/Formalism (Schakel 1486)
Reader-Response Criticism (Schakel 1488)
Feminist Criticism (Schakel 1492)
Gender Studies (Schakel 1494)
Deconstruction (Schakel 1495)
Cultural Criticism (Schakel 1498)
New Historicism (Schakel 1499)
Postcolonial Criticism (Schakel 1501)
3. Literary Criticism and Sula Psychological Criticism
Analyze this passage from the above critical filter:
“What she had felt then, watching Sula going around and around and the little boy swinging out over the water? Sula had cried and cried when she came back from Shadrack’s house. But Nel had remained calm.
“Shouldn’t we tell?”
“Did he see?”
“I don’t know. No.”
“Let’s go. We can’t bring him back.”
What did old Eva mean by you watched? How could she help seeing it? She was right there. But Eva didn’t say see, she said watched. “I did not watch it. I just saw it.” But it was there anyway, as it had always been, the old feeling and the old question. The good feeling she had had when Chicken’s hands slipped. She hadn’t wondered about that in years. “ Why didn’t I feel bad when it happened? How come it felt so good to see him fall?” (Morrison 170)
4. Literary Criticism and Sula Gender Studies
Analyze this passage from the above critical filter:
“What she had felt then, watching Sula going around and around and the little boy swinging out over the water? Sula had cried and cried when she came back from Shadrack’s house. But Nel had remained calm.
“Shouldn’t we tell?”
“Did he see?”
“I don’t know. No.”
“Let’s go. We can’t bring him back.”
What did old Eva mean by you watched? How could she help seeing it? She was right there. But Eva didn’t say see, she said watched. “I did not watch it. I just saw it.” But it was there anyway, as it had always been, the old feeling and the old question. The good feeling she had had when Chicken’s hands slipped. She hadn’t wondered about that in years. “ Why didn’t I feel bad when it happened? How come it felt so good to see him fall?” (Morrison 170)
5. Literary Criticism and Sula Formalism
Analyze this passage from the above critical filter:
“What she had felt then, watching Sula going around and around and the little boy swinging out over the water? Sula had cried and cried when she came back from Shadrack’s house. But Nel had remained calm.
“Shouldn’t we tell?”
“Did he see?”
“I don’t know. No.”
“Let’s go. We can’t bring him back.”
What did old Eva mean by you watched? How could she help seeing it? She was right there. But Eva didn’t say see, she said watched. “I did not watch it. I just saw it.” But it was there anyway, as it had always been, the old feeling and the old question. The good feeling she had had when Chicken’s hands slipped. She hadn’t wondered about that in years. “ Why didn’t I feel bad when it happened? How come it felt so good to see him fall?” (Morrison 170)
6. Literary Criticism and Sula Transaction
Artist
Art
Audience