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In relation to the Adamson\/Chrusch<\/a> dialogue about ways that cognitive science, logic, and other disciplines might contribute to our understanding of Frye, it might be useful to reverse the context of the issue of dependency and consider the ways that Frye has contributed to thinking in other disciplines.\u00a0 The most extended commentaries on Frye\u2019s work are naturally within the field of literary criticism, but Frye was an interdisciplinarian, writing on numerous issues outside of literature \u2013\u2013 social, political, psychological, historical, philosophical, religious, linguistic, legal, and educational.\u00a0 He wrote about music, the fine arts, sacred texts, ballet, film, advertising and propaganda, the church, folklore, Canadian culture, comparative anthropology, humor, Utopias, student protest movements, the humanities, and numerous other nonliterary topics.\u00a0 Frye was, of course, a polymath, and like other instances of the homo universalis<\/em>, his ideas, especially those that form his literary theory, continue to spill over into other disciplines, affecting them in substantive ways.\u00a0 His ideas have been applied by philosophers, historians, geographers, anthropologists, political scientists, and by writers in the fields of advertising, marketing, communication studies, nursing, political economy, legal theory, organization science, social psychology, and consumer research.\u00a0 The contribution to other disciplines is one measure of the substance of a writer\u2019s thought.\u00a0 One thinks of the way Chomsky\u2019s work has influenced, even developed, other fields of inquiry.\u00a0 The following survey, which does not include the books and essays by scores of biblical critics and educational theorists who have drawn on Frye\u2019s work, is a preliminary record of the dialogue between Frye\u2019s criticism and other disciplines.\u00a0 Interestingly, the debts to Frye come not so much from his writings about nonliterary topics: they derive, with a handful of exceptions, from the principles set down in Anatomy of Criticism<\/em>.\u00a0<\/p>\n <\/p>\n Advertising and Marketing<\/strong><\/p>\n In their empirical study, \u201c\u201cThe Role of Myth in Creative Advertising Design: Theory, Process and Outcome,\u201d G.V. Johar, Morris B. Holbrook, and Barbara B. Stern discuss the work of five creative teams from an advertising agency, each of which was given a strategic brief for a new beverage product and asked to design the layout for a print advertisement. \u00a0The authors\u2019 analysis of the protocols revealed that the teams used the kinds of plot patterns in Frye\u2019s Anatomy.<\/em>\u00a0 Four of the teams oriented themselves toward one of Frye\u2019s four mythic types. (Journal of Advertising<\/em> 30, no. 2 [Summer 2001]: 1\u201325.)\u00a0 Barbara B. Stern had earlier borrowed from the theory of genres in Frye\u2019s Anatomy of Criticism<\/em> to develop an analogous classification scheme for advertisements. \u00a0She divided advertisements into three broad categories parallel to the major literary genres, distinguished by what Frye calls the \u201cradical of presentation.\u201d\u00a0 (\u201cWho Talks Advertising? Literary Theory and Narrative \u2018Point of View,\u2019\u201d Journal of Advertising<\/em> 20 [September 1991]: 9\u201322). \u00a0See also Stern\u2019s essay under \u201cSociology,\u201d below.\u00a0<\/strong><\/p>\n Anthropology<\/strong><\/p>\n In his \u201cComment on M. Pluciennik\u2019s \u2018Archaeological Narratives and Other Ways of Telling,\u2019\u201d (Current Anthropology<\/em> 40, no. 5 [December 1999]: 670 ff., James L. Peacock notes that Pluciennik\u2019s essay, in the same issue of Current Anthropology<\/em>, offers a useful contribution to understanding the types of narrative conventions that constitute archaeology. \u00a0He argues that this could be pushed even further, in the manner of Frye\u2019s Anatomy of Criticism<\/em>, to postulate which patterns of thought are generated by which narrative forms.<\/p>\n Marc Manganaro has examined the relations between Frye\u2019s criticism and the comparative method of anthropology.\u00a0 See his \u201cNorthrop Frye: Ritual, Science, and \u2018Literary Anthropology,\u2019\u201d Myth, Rhetoric, and the Voice of Authority: A Critique of Frazer, Eliot, Frye, & Campbell <\/em>(New Haven: Yale University Press, 1992), 111\u201350.\u00a0<\/p>\n Business and Economics<\/strong><\/p>\n Metin M. Co\u015fgel uses Frye\u2019s five fictional and thematic modes from the first essay of Anatomy of Criticism<\/em> to classify the different visions of the entrepreneur in economic \u201cstories.\u201d (\u201cMetaphors, Stories, and the Entrepreneur in Economics,\u201d History of Political Economy<\/em>, 28, no. 1 [1996]: 57\u201376).\u00a0<\/p>\n Joanne Larty illustrates the importance of the literary frameworks in Anatomy of Criticism <\/em>for understanding the entrepreneur and small\u2011business owner.\u00a0 She explores the narratives of fifteen franchisees as they tell the stories of their journeys into franchising, and she analyzes these stories in turn through the lens of Frye\u2019s account of Shakespearean romantic comedy, or what he sometimes refers to as the \u201cGreen World\u201d comedy. \u00a0She concludes that the portraying of franchising as the \u201cGreen World\u201d of small business ownership offers a safe and secure environment in which to live out the dreams of being in control and owning your own business. (\u201cNarrating the Entrepreneur: Franchising as a Shakespearean Romantic Comedy.\u201d\u00a0 Paper presented at the Second Conference on Rhetoric and Narratives in Management Research, Barcelona, 31 May\u20132 June, 2007)\u00a0<\/p>\n Laura L. Nash turns to the principles of Frye\u2019s romantic and ironic mythoi<\/em> as fruitful avenues for exploring questions of business ethics.\u00a0 She argues that all four mythoi<\/em> \u201cshould be more fully considered for their potential to locate business ethics in an applicable context.\u201d (\u201cIntensive Care for Everyone\u2019s Least Favorite Oxymoron: Narrative in Business Ethics,\u201d Business Ethics Quarterly<\/em> 10, no. 1 [January 2000]: 277\u201390).\u00a0<\/p>\n Communications<\/strong><\/p>\n In \u201cThe Communication Thought of Northrop Frye,\u201d Canadian Communication Thought: Ten Foundational Writers<\/em> (Toronto: University of Toronto Press, 2000), 230\u201365, Robert Babe examines the implications of Frye\u2019s thinking for communication studies.\u00a0 He focuses on two major areas: Frye\u2019s theories of perception and cognition and his views on the interaction of the scientific and mythopoeic.\u00a0 See also Babe\u2019s \u201cFoundations of Canadian Communication Thought,\u201d Canadian Journal of Communication<\/em> 25, no. 1 (2000), where he reviews the communication writings of five English-language theorists\u2013\u2013H. A. Innis, George Grant, Frye, C. B. Macpherson, and Marshall McLuhan.\u00a0 Babe proposes that Canadian communication thought is dialectical, critical, holistic, ontological, oriented to political economy and that it concerns mediation and dynamic change.<\/p>\n James W. Chesebro uses a dramatistic system based on the critical frameworks of Frye and Kenneth Burke to analyze more than 900 prime\u2011time television series (\u201cCommunication, Values, and Popular Television\u2013\u2013A Seventeen\u2011Year Assessment,\u201d Communication Quarterly<\/em> 39, no. 3 [1991]: 197\u201325.\u00a0<\/p>\n Arthur Siegel, in \u201cNorthrop Frye and the Toronto School of Communication Theory,\u201d The <\/em>Toronto<\/em> School of Communication Theory: Interpretations, Extensions, Applications<\/em>, eds. Rita Watson and Menahem Blondheim (Toronto: University of Toronto Press, 2007), 114\u201344, examines Frye\u2019s perspective on Harold Innis and the role Frye played in Canadian media institutions.<\/p>\n In a related study Jan Gorak opposes Frye\u2019s view of communication, derived from literature as a means of human liberation, to the coercive communication of contemporary media\u2013\u2013rhetorical or dialectical communication, arguing that in his late writings Frye is eager to explore the interactions between the two. (\u201cFrye and the Legacy of Communication,\u201d in The Legacy of Northrop Frye<\/em>, ed. Alvin Lee and Robert D. Denham [Toronto: University of Toronto Press, 1994], 304\u201315).<\/p>\n One study I have not seen that draws on Frye is Catherine Ann Collins, \u201cCultural Stories in the Rhetoric of U.S. Involvement in Vietnam,\u201d in Studies in Communication: Communication and Culture: Language Performance, Technology, and Media<\/em>, ed. Sari Thomas. Communication and Information Science. 4.\u00a0 (Norwood, NJ: Ablex, 1990), 25\u201333.<\/p>\n Geography<\/strong><\/p>\n In re-mapping geographical discourse, Jonathan M. Smith draws on Frye\u2019s theory of fictional modes, showing that geographers construct their narratives in terms of romance, tragedy, comedy, or irony.\u00a0 (\u201cGeographical Rhetoric: Modes and Tropes of Appeal,\u201d Annals of the Association of American Geographers<\/em> 86, no. 1 [1996]: 1\u201320).\u00a0<\/p>\n Historiography<\/strong><\/p>\n Lynn Hunt.\u00a0 Politics, Culture, and Class in the French Revolution<\/em>.\u00a0 Berkeley: University of California Press, 1984.\u00a0 Hunt\u2019s focus on the political terms and symbols for the events of 1789 includes a discussion of the relevance of Frye\u2019s work for historians concerned with revolutionary change.<\/p>\n Langkj\u00e6r, Michael A.\u00a0 \u201cA Teiresias og kontrafakta\u2013\u2013om mytebaserede alternative fortider\u201d [\u201cTiresias and Counterfactuals\u2013\u2013On the Use of Myth in Constructing Alternative Pasts\u201d]. \u00a0Den jyske Historiker<\/em> (Historien der ikke blev til noget<\/em>) July 2001: 30\u201347.\u00a0 Langkjj\u00e6r treats the topic of myth as an aid in composing a counterfactual essay, \u201cMin Vilje er min Sk\u00e6bne\u201d (\u201cMy Will is My Fate\u201d), about the Danish minister Count Johann Friedrich Struensee (1737\u201372).\u00a0 He suggests that mythical archetypes and motives can be used in emplotting the hypothetical lines of activity taken by historical figures in \u00adcounter\u00adfactual circumstances. \u00a0In light of this view, he discusses the ideas of Frye and others on the role of myth in structuring the lives of individuals and societies: the introduction of myth as a structuring element in counterfactual historical narrative increases the authenticity of the scenarios beyond that achieved solely by extrapolation and causal logic.<\/p>\n In a paper presented at the 1989 annual meeting of the Speech Communication Association, San Francisco, 18\u201321 November, John Murphy argues that the narrative structure of Theodore White\u2019s book, The Making of a President,<\/em> derives its power from the form described by Frye as a quest story in the high mimetic mode (\u201cNarrative and Social Action: The Making of a President 1960,\u201d 32 pp.).<\/p>\n On the basis of Frye\u2019s theory of narrative and Hayden White\u2019s application of it to the poetics of historiography, Kevin Platt and David Brandenberger identify two basic plots which they apply to the story of Ivan IV and his era: romance and tragedy. (\u201cTerribly Romantic, Terribly Progressive, or Terribly Tragic: Rehabilitating Ivan IV under I.V. Stalin,\u201d Russian Review<\/em> 58, no. 4 [October 1999]: 635\u201354).\u00a0<\/p>\n Jeffrey N. Wasserstrong draws heavily on the various themes in Frye\u2019s mythos<\/em> of romance to outline the various interpretations given to the Tiananmen Square episode.\u00a0 (\u201cHistory, Myth, and Tales of Tiananmen,\u201d in Pouplar Protest and Political Culture in Modern <\/em>China<\/em>, ed. Jeffrey N. Wasserstrom and Elizabeth J. Perry [Boulder, CO: Westview Press, 1994], 273\u2013308).\u00a0<\/p>\n In Metahistory<\/em> and a number of articles Hayden White has used Frye\u2019s categories to elaborate historical understanding.\u00a0<\/p>\n \u201cThe Fictions of Factual Representation,\u201d in The Literature of Fact: Selected Papers from the English Institute, <\/em>ed. Angus Fletcher (New York: Columbia University Press 1976), 21\u201344.\u00a0 Here White comments on the usefulness of Frye\u2019s concepts of archetype and displacement for understanding history and the philosophy of history.<\/p>\n \u201cGetting out of History,\u201d Diacritics <\/em>12 (Fall 1982): 2\u201313. \u00a0Rpt. in Contempo\u00adrary Literary Criticism: Modernism through Post-structuralism, <\/em>ed. Robert Con Davis (New York: Longman 1986), 146\u201360.\u00a0 White interprets Frederic Jameson\u2019s work as an effort to compose a Marxist version of Frye\u2019s Anatomy of Criticism. \u00a0<\/em>He glances at Jameson\u2019s appropriation of Frye.<\/p>\n \u201cThe Historical Text as Literary Artifact,\u201d Clio <\/em>3 (June 1974): 277\u2013303. \u00a0Rpt in The Writing of History: Literary Form and Historical Under\u00adstanding<\/em>, <\/em>ed. Robert H. Canary and Henry Kozicki (Madison: University of Wisconsin Press 1978), 41\u201362.\u00a0 White analyzes Frye\u2019s distinction among myth, history, and fiction, and then argues, in opposition to Frye, that history is no less history because of its fictional elements, particularly the kinds of plot structures its writers use.<\/p>\n \u201cInterpretation in History,\u201d New Literary History <\/em>4 (Winter 1973): 281\u2013314.\u00a0 White examines Frye\u2019s conception of historiography. \u00a0He observes that although Frye is aware of the important differences between poetry and history, he is also sensitive to the ways they resemble each other. \u00a0He then extends Frye\u2019s ideas to argue that interpretation in history depends on these resemblances: the patterns of meaning, the story forms, the pre-generic plot structures, and the conceptualized myths that historians built into their narratives. \u00a0White believes that Frye\u2019s distinctions provide a useful \u201cway of identifying the specifically \u2018fictive\u2019 element\u201d in historical accounts of the world.<\/p>\n Metahistory <\/em>(Baltimore: Johns Hopkins University Press 1973), 7\u201311, 231\u20133.\u00a0 In this book White draws on Frye\u2019s theory of myths in order to identify four different modes of emplotment. \u00a0He then uses the fictional modes as part of his framework for analyzing the works of nineteenth-century historians<\/p>\n \u201cThe Structure of Historical Narrative,\u201dClio <\/em>1 (June 1972): 5\u201320.\u00a0 Here White uses Frye\u2019s concept of plot, or pre-generic narrative patterns to examine the relationship between story and different kinds of narrative history.<\/p>\n Journalism<\/strong><\/p>\n Charles Marsh uses Frye\u2019s theory of displacement to demonstrate that the narrative structure of literary journalism originated not simply in fiction but, rather, in Greek drama. (\u201cDeeper Than the Fictional Model: Structural Origins of Literary Journalism in Greek Tragedy and Aristotle\u2019s Poetics<\/em>.\u201d\u00a0http:\/\/list.msu.edu\/cgi-bin\/wa?A2=ind0310a&L=aejmc&P=1900<\/a>).\u00a0<\/p>\n Law<\/strong><\/p>\n In \u201cJurisprudence as Narrative: An Aesthetic Analysis of Modern Legal Theory,\u201d New York University Law Review<\/em> 60 (May 1985): 145\u2013211, Robin West draws upon Frye\u2019s Anatomy<\/em> to argue that legal theory can be read as a form of narrative. \u00a0In part 1 West summarizes Frye\u2019s analysis of the role of myth in narrative and reviews his four core myths and their corresponding literary plots: romance, irony, comedy, and tragedy. \u00a0Part 2 describes four corresponding jurisprudential traditions: natural law, legal positivism, liberalism, and statism. \u00a0Parts 3 and 4 argue that each of these jurisprudential traditions is unified by either a vision of the world or a narrative method that corresponds to one of Frye\u2019s four literary myths. \u00a0The final section assesses the significance of this correspondence, demonstrating that it is fruitful to address conflicts in legal theory as reflecting aesthetic as well as political and moral differences in the way we view the world.<\/p>\n In Literature Criticism of Law<\/em> (Princeton, NJ: Princeton University Press, 2000), 211\u201313, 280, 283\u20134, Guyora Binder briefly considers Frye\u2019s views of narrative as applicable to the understanding of law and Robin West\u2019s (see above) appropriation of these views.<\/p>\n Archie Zariski, \u201cVirtual Words and the Fate of Law,\u201d Journal of Information, Law and Technology<\/em> 1 (1998).\u00a0 http:\/\/www2.warwick.ac.uk\/fac\/soc\/law\/elj\/jilt\/1998_1\/zariski\/.\u00a0 In considering the consequences for law of the digitalization of its texts and experiences in cyberspace, Zariski sees Frye\u2019s writings, particularly his taxonomy of the phases of language and the forms of writing in The Great Code<\/em> and Words with Power<\/em>, as providing insights into the possible future of law in cyberspace.\u00a0 He concludes that digitalization in itself will not satisfy the human need for meaningful personal narrative in law as in other interpersonal affairs.\u00a0 \u201cFrye teaches us to be aware of the content-related biases of a communicative medium in order to understand its impact on the mind.\u201d\u00a0 Zariski concludes further \u201cthat the descriptive mode of writing poses a threat to human dignity and agency not only in literature but in legal culture as well.\u201d<\/p>\n Medicine and Health<\/strong><\/p>\n Rebecca Hagey advances the argument that the theory of interpretation in Frye\u2019s The Great Code<\/em> can be useful in the art of nursing, because the dramatic narratives that are shaped from the nurse\u2011patient relationship attend to images, struc\u00adtures of meaning, symbolic codes, and transformations.\u00a0 These features are more im\u00adportant in nursing care than rigid models and mechanical procedures for diagnosis. (\u201cCodes and Coping: A Nursing Tribute to Northrop Frye,. Nursing Papers\/Perspectives en nursing <\/em>16 [Summer 1984]: 13\u201339).\u00a0<\/p>\n Robert Wade Kenny, \u201cThinking about Rethinking Life and Death<\/em>: The Character and Rhetorical Function of Dramatic Irony in a Life Ethics Discourse,\u201d Rhetoric & Public Affairs<\/em> 6, no. 4 (2003): 657\u201386.\u00a0 Kenny uses Frye\u2019s account of the several modes of writing (conceptual, descriptive, poetic) in order to scrutinize the medical ethics arguments of Peter Singer\u2019s Rethinking Life and Death<\/em>.<\/p>\n Ariel Zolt\u00e1n Mitev, \u201cA Narrative Analysis of University Students\u2019 Alcohol Stories in Terms of a Fryeian Framework,\u201d European Journal of Mental Health<\/em> 2 (2007) 2, 205\u2013233. \u00a0Mitev presents a structural analysis of students\u2019 alcohol consumption stories, using Frye\u2019s taxonomy of mythoi to assign consumer narratives to four categories: comedy, romance, tragedy, and irony.\u00a0 See also chapter 8 of Mitev\u2019s Ph.D. dissertation, A t\u00e1rsadalmi marketing elm\u00e9leti \u00e9s empirius k\u00e9rd\u00e9sei: Egyete mist\u00e1k alkoholfogyaszt\u00e1si t\u00f6rt\u00e9neteinek narrative elems\u00e9se<\/em> (Budapest: Corvinus University, 2005), 107\u201332.<\/p>\n Music<\/strong><\/p>\n P.G. Baker, \u201c\u2018Night into Day\u2019: Patterns of Symbolism in Mozart\u2019s The Magic Flute<\/em>,\u201d University of Toronto Quarterly <\/em>49, no. 2 (Winter 1979): 95\u2013116. \u00a0Baker examines the Schikaneder libretto in terms of Frye\u2019s critical principles. \u00a0The hero\u2019s quest for regeneration, initiation, and eventual transcendence of the four elements of the sublunary world take place within a unified framework of mythically functioning landscapes and characters, with an emphasis on music-making in its literary and figurative senses.<\/p>\n Robert C. Ketterer, \u201cNeoplatonic Light and Dramatic Genre in Busenello\u2019s L\u2019Incoronazione di Poppea<\/em> and Noris\u2019s Il Ripudio D\u2019Ottavia<\/em>,\u201d Music & Letters<\/em> 80 (1999): 1\u201322.\u00a0 Ketterer applies Frye\u2019s critical method to L\u2019incoronazione di Poppea<\/em>.<\/p>\n K.M. Knittel, \u201c\u2018Late.\u2019 Last, and Least: On Being Beethoven\u2019s Quartet in F Major, OP. 135,\u201d Music and Letters <\/em>87, no. 1 (2006): 16\u201351.\u00a0 On the ways in which various interpreters of Beethoven\u2019s last completed work (the string quartet in F major, Op. 135) is said to be a romance, comedy, tragedy, or satire as these forms of emplotment have been defined by Hayden White and Frye.<\/p>\n Frank W. Oglesbee, \u201cParadigm, Persona and Epideictic: The Lovesongs of Eurythmics,\u201d Popular Music Society<\/em> 13, no. 2 (1989): 47\u201366.\u00a0 Oglesbee examines the lyrics of the lovesongs of Eurythmics, a popular music group. \u00a0Uses a method based on the James Chesbro study (see above, under \u201cCommunications\u201d), which classifies lyrics according to Frye\u2019s mythoi <\/em>and Kenneth Burke\u2019s four-step dramatistic process (Pollution, Guilt, Purification, Redemption). \u00a0He then synthesizes Frye\u2019s hierarchy, based on the relative intelligence and abilities of the central character compared to the audience, with Kenneth Burke\u2019s behavioral processes.<\/p>\n