Archetypal criticism was at its most popular in the 1940s and 1950s, largely due to the work of Canadian literary critic Northrop Frye.
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It was not until the work of the Canadian literary critic Northrop Frye that archetypal criticism was theorized in purely literary terms.
Northrop Frye pointed to the dangers of the demonic myth making of the dark side of romanticism as seeming “to provide all the disadvantages of superstition with none of the advantages of religion”.
Basman notes that Northrop Frye, in his own classic Anatomy of Criticism (New York: Atheneum, 1969), makes the same assertion when he describes form as meaning holding the work together in a simultaneous structure.
Green World is a literary concept defined by critic Northrop Frye in The Anatomy of Criticism (Princeton; Princeton University press, 1957), pp.
When Persse meets Cheryl Summerbee again, she is now reading not romance novels but romances such as Orlando Furioso and critics such as Northrop Frye after Angelica has passed through her line.
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The project of producing a scholarly, uniform edition of the Collected Works of Northrop Frye (1912–1991) grew from modest beginnings in 1993; the project has been funded by grants from the Michael G. DeGroote family through McMaster University, from the Social Sciences and Humanities Research Council of Canada, and from Victoria University, University of Toronto.
It quickly gained attention for publishing significant authors such as Margaret Atwood, Matt Cohen, Michael Ondaatje, Marian Engel, Erin Mouré, Paulette Jiles, George Grant and Northrop Frye.