HISTORICAL CRITICISM

• investigates social,cultural and intellectual context.
• it includes authors life and the prevalent social conditions.
• it traces the changes over time.

BIOGRAPHICAL CRITICISM

acc to this B.C,

• real life experiences are taken note.
• understanding the authors life is very important.
• the important events in the life of the writer will help to boost the understanding of the reader.
• eg: CHARLES DICKENS' novel DAVID COPPERFIELD has fully autobiograpical elements. all his novels has his experiences as the base.

PRACTICAL CRITICISM

• ANALYSIS,INTERPRETATION AND EVALUATION OF THE TEXT.
• VERBAL TEXTURE AND THE ARTISTIC FEATURES ARE NOTED.
• I. A. RICHARS in his work PRACTICAL CRITICISM has analysed well.

CLOSE READING

• close and detailed analysis of the text without refering to the cultural, historical or biographical background.
• specific uses of imagery,symbols,repeated terms,patterns of expressions,tone,theme has to be taken note of.(munnadiyae padicho mae athu thaan............. kelambitttangayya.........)

FOUR TYPES OF FUNCTIONS

topic partha udana deepavali , pongal, innoru deeepavali innoru pongallu think panna koodathu....... I.A RICHARDS ku namma alavukku capacuty kadaiyadu.....so avar range ku namma povoam.......

1. SENSE: we use words to catch the attention of the listeners. those words kindles the emotions and create a sense.('dei' sonna oru reaction," oi" sonna oru reaction, "hi" sonna oru reaction.... itha ellam vadivelu sonna oru reaction........ atha soldar).
2. FEELINGS: attitude+special direction+bias+ interest/colouring of the feelings=== feelings.(ovvoru tharkku oru oru feeling...... {nagu listen pannu} feeling nu sonna nagu kku oru paer neabagam varum, palani kku onnu varum(????????) terrorist kku{ TT CHESS thanae... okok } oru thought ........ ).
3. TONE: the way in which the speaker utters reveals his attitude.(namma HR ra kaelunga) how the speaker has taken the issue, wat he really wants from the listeners........ all can be found from the tone..... eg: positive tone, melancholic tone(namma devadas madri), formal tone will create distance politeness(teacher student madri........ satyama palani nagu class illa....{dhigil effecttil padiikkavum}
4. INTENTION: the speakers aim , consciousness and his approach gets revealed. according to the intention his success is spotted(paadam solla thaan teachers varanga aaana naama thoongarom illaya atha madri}

• SCIENTIST: his attitude will be very much concentrated on facts and his information ll be fact oriented . academic convention ll dominate in his speech.(namma president ji 'moon ,oxygen "pathi eppadi think pannuvar??????)

• WRITER: his aim ll be to popularise his/her words. so he ll be more concerned on people and the things that interest them( vairamuthu sir oxygen ,moon , nu sonnadum anga ishwarya va kondu vanthu thanga vachi prashantha feel panna vachiduvar{azagiya nilavil o2 nirappi angae unakkoru veedu seivaen}

PRACTICAL &NEW CRITICISM

there starts a conversation among three big shots of Chennai PUCK(p) DR.FAUSTUS(f) VIM VANDY (v).....an unidntified voice named GSS also takes part in the conversation.....

p:hi friends..... today free ya time a selavu pannanum pa.......
f:hey ivan oxymoron la paesuran....... kandupudichuttaen ............
p:podum control pannikko.... nee nalla school padichi irukkannu othukkaraen
"{{{{{{{>>>>>>><<<<<<,,,,,,./''''''''';;;][[[[[[[[[[ GSS:school aga school.......JOHN CROWE RANSOM arambicha school ah? athu paer NEW CRITICISMSCHOOL thanae.......... ???????<<<<<<<<>,,,...''';;;;;;;;;;;;;;;;;;;;;;;;;;;;

p f ::::::: oi yaar adu....?????? enna school adu kaetta madri illayae.......
v: oh i ll tell u guys

#its a group of people who wanted to change old way of criticism. new kind of practical criticism was their aim.....
p: hei stop enna aachu unakku.... over ra paesura????? ithukku thaan TT adikkadi adathannu namma MA friends sonnanga lla
??????<<<<<>>:"""""""""""""""""""""""""""""""""""""""
GSS:
THEIR GOALS:

*text s the main and only sourse ... no other information s sensed valid. a kind of intrinsic criticism(book ka mattum padi yaar yarukku ezuthina eppo appadi yellam kaettka naama enna ulavu thurai ya???)
*CLOSE READING paying immense attention to the words meaning and stucture of the given piece (noondi namma ramana sir madri through va iruka num)
*new critics wanted a new approach. so they took no care of extra texual information but studied the full text. they welcomed as many interpretations as possible(ezuthinada padichittu yaar enna karpanapannalum aga, super, athu, appadi thaan nnu over scene)
* the pioneer of this kind of revolutionary(!) thinking s COLERIDGE.he says poem not as science but an ever lively emotion. THE WHOLE S IN EVERY PART AND EVERY PART CAN BE FOUND IN THE WHOLE.
(INTHA ASAMI THAAN NAMMA KASHTA PADA KARANAM.part parta padichalum athula oru muzhumai irukku......... ella partum sernthadu thaan muzumai.... ok ok i ll stop... ).
??????????<<:::::::::::::::"""""""""""""""""""""""""
p: dei nammla kola seyya sathi nadakkudu da dei vim u come ..... yaru pa ivan ala kanoom ana koral mattum kathi madri kolluthae.. engayo kaetta madri irukkae....dei faustus un black magic vachi kandu pudi da........

f: om greem jaam...........