Analyzes the banquet scene in Blake's poem, arguing that it embodies his dialectic art at its best. (FL)

During the course of an interview, Terry Eagleton, one of England's foremost Marxist critics, talks about his political and critical position and about related contemporary developments. (HOD)

Describes a course incorporating the study of science and literature. (DD)

Presents several highly imaginative poems for the young reader and suggests that E. E. Cummings' poetry is suitable for children's reading tastes. (RB)

The author discusses the validity of various approaches to, and interpretations of, a literary work. (MM)

Presents a unit on Black American poetry by approaching it in five categories: slavery, acquiescence, integration, separatism, and militancy. (MM)

Describes six inadequate approaches used in teaching, analyzing, and interpreting poetry, and suggests a useful key" for the interpretation of poems. (SW)

Uses John Updike's Shillington" to show how an explication-teaching strategy can help students to understand a poem. (SW)

Asseverates the morality of "The Catcher in the Rye," emphasizing that teachers need not defend the book on purely literary terms. (JL)

Explores in personal terms the perplexing connections among psychoanalytic theory, literary criticism, and social history. Tentatively concludes that psychoanalytic concepts need to go beyond theories of repression to models that equally emphasize social responsiveness and self-construction. (JL)

Shows how knowledge, skills, attitudes, and experience acquired in a literary education apply to the teaching of composition. Advocates adapting the method of literary criticism into an "editing" approach to evaluating writing which includes understanding the text and its potential, diagnosing problems, and intervening constructively. (RL)

Outlines the five stages of a poetry lesson, illustrating their use with the poem "Spring and Fall," by Gerard Manley Hopkins. (RL)

Students' use of "I think" and its variants when writing about literature reflects an avoidance of close observation of the literary text. (DD)