Background: Herman Northrop Frye  (July 14, 1912 - January 23, 1991) was a Canadian literary critic and literary theorist, considered one of the most influential of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature."
Context: Once asked whether his critical theory was Romantic, Frye responded, "Oh, it's entirely Romantic, yes" (Stingle 1). It is Romantic in the same sense that Frye attributed Romanticism to Blake: that is, "in the expanded sense of giving a primary place to imagination and individual feeling" (Stingle 2). As artifacts of the imagination, literary works, including "the pre-literary categories of ritual, myth, and folk-tale" (Archetypes 1450) form, in Frye's vision, a potentially unified imaginative experience. He reminds us that literature is the "central and most important extension" of mythology: ". . . every human society possesses a mythology which is inherited, transmitted and diversified by literature" (Words with Power xiii). Mythology and literature thus inhabit and function within the same imaginative world, one that is "governed by conventions, by its own modes, symbols, myths and genres" (Hart 23). Integrity for criticism requires that it too operates within the sphere of the imagination, and not seek an organizing principle in ideology. To do so, claims Frye,  . . . leaves out the central structural principles that literature derives from myth, the principles that give literature its communicating power across the centuries through all ideological changes. Such structural principles are certainly conditioned by social and historical factors and do not transcend them, but they retain a continuity of form that points to an identity of the literary organism distinct from all its adaptations to its social environment (Words with Power xiii).  Myth therefore provides structure to literature simply because literature as a whole is "displaced mythology" (Bates 21). Hart makes the point well when he states that "For Frye, the story, and not the argument, is at the centre of literature and society. The base of society is mythical and narrative and not ideological and dialectical" (19). This idea, which is central in Frye's criticism, was first suggested to him by Giambattista Vico.
Question: did he have any other works?
Answer: (Words with Power xiii

Background: Utada Hikaru (Yu Duo Tian  hikaru, born January 19, 1983), who also goes by the mononym Utada (English: ), is a Japanese-American singer-songwriter and producer. Born in New York City to Japanese parents, record producer Utada Teruzane and enka singer Abe Junko, Utada began to write music and lyrics at an early age and often traveled to Tokyo, as a result of her father's job. Eventually, a recording contract with Toshiba-EMI was signed and, under the stage name "Cubic U", Utada released her English-language debut album Precious in early 1998, but was a commercial failure. In the following year, heavily influenced by R&B and dance-pop, her Japanese-language debut First Love was released and became an instant success.
Context: On December 16, 2008, information leaked onto the Internet that Utada's next English-language single, titled "Come Back to Me", would be scheduled for airplay release through U.S. Rhythmic/Crossover and Mainstream formats on February 9 and 10, 2009 respectively via Island Records. The new English album, titled This Is the One, was released on March 14, 2009 in Japan and on May 12, 2009 in the United States. This Is the One debuted at number 1 in Japan on March 13, 2009, the day it was released in Japan, but became Utada's first album not to top the weekly chart since Precious. On March 30, 2009 she appeared on New York City radio station Z-100 (100.3), the largest pop radio program in the U.S., and granted a live on-air interview on the station's Elvis Duran Morning Show, a breakthrough that would lead to a promotional schedule up and through the album's international physical release on May 12. Utada also sang the theme song for the second Evangelion film, Evangelion: 2.0 You Can (Not) Advance. The single was released on June 27, 2009, and is a remix of her previous single, "Beautiful World". The new single is titled Beautiful World -PLANiTb Acoustica Mix-.  On October 14, Utada stated that she was writing lyrics that were due on October 15. She also added that some "German magic" would be added to the music. It was revealed that Goetz B, who had previously worked with Utada on her album Ultra Blue was in the process of mixing tracks for her.  On November 30, 2009, at Studio Coast, Tokyo, Utada sung a duet of Let It Snow with pop singer Mika.  On December 21, 2009, Utada's Dirty Desire remixes were released only on Amazon.com, Zune Marketplace, and the U.S. iTunes Store, in support of This Is the One and her upcoming tour. The tour, Utada: In the Flesh 2010, was her first concert tour outside Japan and included eight cities in the US and two dates in London, UK. The tickets for the second London performance went on public sale November 13, and reportedly sold out in just 5 hours.
Question: Did she win any awards during this time?
Answer: