Preface

I asked most of the English department how they analyze literature, in preparation for a project my social studies teacher wanted me to complete. Most of them gave me about a one-sentence answer, so in the following article, I have extrapolated a lot from their responses. I am writing this in Utah, and the only book I brought with me is Crime and Punishment by Fyodor Dostoevsky, so all the examples in this article will be from that text or from my memory. I spoke to Mrs. Annunziato (Connecting literature to one’s life), Mrs. Alexander (Reading critiques), Ms. Diniz (Women and gender lens), Mr. Gonzalez (Deep societal context that is applicable; ex. Hamlet was manic), Ms. DeAmicis (Connecting literature to one’s life and experiencing things by proxy), Mrs. Gallo-Yatcko (Psychoanalytical criticism with Maslow’s Hierarchy of Needs), Mr. Capone (Deconstructing elements of a text), Ms. Walsh (A cultural lens; where power comes from), Ms. Johnston (Looking at the purpose of a work and how it engages with a certain topic), Mr. McCarty (Jungian psychoanalysis), Ms. Cambisaca (Freudian psychoanalysis), and Mr. Perotti (All kinds of symbolism). The article was getting far above my maximum word count, so many of their responses did not make it in, as I wouldn’t have had enough space to describe their methods in adequate detail. So, this will be a little mini-series, organized by how related I think the responses are. 

Part 1 – Mr.Capone

Mr. Capone likes to deconstruct elements of a piece of literature. Deconstructing parts of literature is a great way to gain a deeper understanding of a text by analyzing literary devices, characters, and structure. Literary devices, such as similes, metaphors, personification, irony, foreshadowing, and more, serve as tools authors use to convey deeper meanings, evoke emotions, or emphasize certain themes. To analyze literary devices effectively, first, identify the literary device, then ask what it means in the context of the plot and why the author chose that specific device. Finally, connect it back to the theme, structure, and plot. Literary devices, like repetition, can often serve as foreshadowing, and  motifs or symbols can make a story feel cohesive. Examining characters is crucial in any analysis. Identifying the types of character development and the roles of certain characters is very important. Beyond basic characterization (i.e., identifying motivations and desires), there are several archetypes of characters. These include protagonists (leading characters), antagonists (those who oppose the protagonist), and supporting characters (those who are important to the plot but not the main focus). In Crime and Punishment, Raskolnikov, an impoverished student who commits a double murder, is the protagonist, as the story centers around him. His inner conflict and guilt about killing people serve as the antagonist. A supporting character would be Councillor Marmeladov, as he sparks Raskolnikov’s redemption arc.

There are three main types of character development: linear, nonlinear, and transformational. Linear development shows a character’s growth in a predictable manner, like Raskolnikov’s mother, who gradually becomes disillusioned with her son. Nonlinear development displays a character arc out of chronological order, using flashbacks, flash-forwards, and cut scenes. Transformational development reflects a profound change due to an epiphany, moral shift, or external change. An example of this is the transformation of The Scarlet Witch in WandaVision, from a noble hero to a more selfish villain after studying the Darkhold. Another example is Anakin Skywalker in Star Wars, who shifts from a hopeful Jedi to Darth Vader.

Characters can also be categorized as round, flat, dynamic, static, foil, or archetypal. Round characters are well-developed with clear and nuanced motives. Flat characters are simple and not complex, existing mainly to further the plot (e.g., the evil stepmother in Cinderella). Dynamic characters change over time, while static characters do not. Foil characters parallel the protagonist, such as Councillor Marmeladov or Razumikhin in Crime and Punishment. Archetypal characters fill conventional roles, like Gandalf as a wise mentor in The Lord of the Rings or Luke Skywalker as the stereotypical hero in Star Wars.

Analyzing structure is also important, as it reveals how the arrangement of events impacts the reader’s perception of the narrative. One should identify the different parts of the plot (exposition, rising action, climax, falling action, resolution) and analyze how each section contributes to the emotional or thematic development of the story. For example, the slow buildup in Crime and Punishment helps emphasize Raskolnikov’s deteriorating mental state, and his eventual confession serves as a necessary release of tension after the internal conflict. Structure also includes pacing, which determines the rhythm of the plot. Does the author dwell on certain scenes to create suspense, or does the narrative move quickly to maintain urgency? Literary tropes, such as MacGuffins, Chekhov’s gun, or lampshading, are often part of the structure. A MacGuffin is an object or goal that drives the plot forward but is not central to the story itself (e.g., the philosopher’s stone in Harry Potter). Chekhov’s gun is the idea that every detail in the story should serve a purpose—if a character mentions a weapon in Act One, it should be used in Act Three. Lampshading occurs when an author deliberately calls attention to a trope or cliché within the narrative, either to subvert it or to play with reader expectations. Dostoevsky often uses this technique to highlight the psychological complexities of his characters, especially Raskolnikov, as they grapple with ideas of fate, justice, and morality. Analyzing all of these elements can help one gain a far better understanding of a text.