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Literature Analysis Assignment on The Light in Great Gatsby

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Literature Analysis Assignment on The Light in Great Gatsby



“work” vs. “text,” cultural text, authorial intention, “death of the author,” formalism, aesthetics, narratology, genre, biographical criticism, new historicism, marxism, reader response theory, psychoanalysis 


linguistics, poetics, (Russian) formalism, “close” reading, “literariness,” defamiliarization/estrangement, fabula, syuzhet, impressionistic criticism, biographical criticism, hermeneutics, New Criticism, ontological critic, intrinsic/extrinsic analysis, objective correlative, objective theory of art, intentional fallacy, affective fallacy, organic unity (paradox/irony/ambiguity), denotation, connotation, literary taxonomy


philology, diachronic, synchronic, emes, mythemes, langue, parole, descriptive grammar, prescriptive grammar, sign, signifier, signified, semiotics, narratology, structuralism, binary opposition, minimal pair, narrative functions, narremes, langue vs. parole, deep structure vs. surface phenomena, Frye’s mythoi, archetypal criticism, fictional modes, literary competence, Culler’s rule of significance, Culler’s rule of metaphorical coherence,  Culler’s rule of thematic unity


sign, signifier, signified, signification, semiotics, Saussure/Saussurian model, structural vs. relational vs. referential, arbitrariness of the sign, intralinguistic, extralinguistic, Piercian model of the sign, semiotic triangle, Pierce’s three classes of sign (symbolic, iconic, indexical), trope, Four classes of trope (metaphor, metonymy, synechdoche, irony), code, encoding, decoding, denotation, connotation, hyperreality, synchronic vs. diachronic, paradigmatic vs. syntagmatic, dialogical theory


narrator, narratee, implied reader, implied author, paratext, mimesis, diegesis/intradiegetic/extradiegetic, narrative levels, modular narratives, unreliable narrator, fallability, focalization, frame narrative, events vs. existents vs. actants, discourse time, story time, analepsis, prolepsis, figural narrative situation, perspective, direct vs. indirect vs. free indirect discourse, hermenetic code (Barthes), proairetic code (Barthes), character types (Propp),  equilibrium (Todorov), semiotic square (Greimas), contractual/performative/disjunctive structures, story (fabula) vs. narrative (telling or “plotting”) vs. narration (performance)


This assignment is intended to exercise your analytical skills using the many methodologies, critical concepts, and vocabulary used throughout the term in the general domain of critical theory. As the emphasis is on textual analysis, little or no research will be required for the completion of this assignment. You will, however, be required to be highly selective and focused about the text and the portion(s) you choose for analysis, as you must employ at least ten critical concepts or terms in the analysis in the service of a focused argument. The text may be virtually any cultural artifact you wish—a film, a novel, a poem, a television series, image, or a graphic novel—but your focus and analysis of the artifact must be focused and trenchant, arguing for a feature or aspect of the text that would not be apparent or obvious without the analysis you conduct. 


  • five-to-seven full pages of expository argumentation, with a main thesis, supporting claims, and supporting evidence
  • Adherence MLA formatting and citation; 1” margins, Times 12 font, double-spaced
  • Adherence to the formal conventions of written American English
  • Use or employment of one or more critical methodologies learned throughout the term
  • Definition and use of at least ten relevant keywords used correctly and critically in analysis of a text





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