Modern literary theory has opened up a variety of new approaches to reading texts of all kinds, however these have been applied mainly to works of prose fiction. This volume contains a collection of essays which attempts to apply these theoretical techniques to works of poetry.

The principle aim of this book is to explore the relationship between contemporary literary theory and analytic philosophy. The volume addresses this issue in two ways: first, through four exchanges between, on the one hand, proponents of avant-garde literary theory and, on the other, proponents of analytic philosophy (or of related literary critical positions); and second, through three cross-disciplinary essays on the relationship in question. Central topics in the volume include Self, Ethics, Interpretation, Language and (...) characterisations of 'analytic' and 'continental' philosophy. (shrink)

Understanding Literary Theory is the essential guide for every reader looking to understand what literary theory is and why it matters. This concise and accessible text introduces today's foremost schools of literary theory, offering historical background and outlining the important ideas of each. The theories are then applied to a variety of classic short stories, demonstrating how the different theoretical approaches can yield diverse interpretations of the same literary works. This volume separates itself (...) from similar texts by providing clear and accurate explanations of theory's most challenging concepts. It examines all of the major schools of criticism, including ecocriticism, ethnic studies, feminism, formalism, Marxism, narratology, new historicism, postcolonialism, postmodernism, post-structuralism, psychoanalysis, queer theory, reader response, and structuralism. Each chapter begins with a straightforward summary that outlines the focus of the theoretical approach, its notable practitioners, its advantages and disadvantages, and a concise definition. The chapters then delve into each theory by explaining the key concepts and the ideas that led to them. This book is indispensable for anyone intimidated by words like deconstruction, differance, heteroglossia or hyperreality. Understanding Literary Theory shows readers the interpretative possibilities that literary theory can provide. It is the ideal introduction for those who want to get the most out of the literature they read. (shrink)

This chapter contains sections titled: The Absence of the Ethical Reflective Equilibrium Straightness and Surprise Perception and Method Perception and Love Literary Theory and Ethical Theory.

In lieu of an abstract, here is a brief excerpt of the content:Walter Glannon WHAT LITERARY THEORY MISSES IN WITTGENSTEIN Wittgenstein's stock is rising in literary criticism. The market value of expressions such as "language games" and "form oflife" is increasing in that they seem to lend themselves to the notion of interpretive communities endorsed by diose of reader-response persuasion.1 Wittgenstein's style is also apparently at a premium, in light of a recent attempt by a proponent of (...) deconstruction to relate the philosopher's writing to that movement's use of rhetorical strategies in dealing with texts.2 There are affinities between Wittgenstein's repudiation (in the Investigations and the Remarks on the Foundations of Mathematics) of the metaphysical realism in the Tractatus and die arguments from reader-response critics against the notion of unmediated facts, as well as the rejection of the metaphysics of presence by deconstructionists. All diree oppose the idea that truth and falsity are conferred on our statements about the world by properties independent of diese statements. Insofar as these two critical schools are concerned primarily with language, they share Wittgenstein's aspiration to "bring words back from their metaphysical to their everyday use" (PI, I, § 116), for we can arrest the tendency to postulate objective, unmediated facts by "looking into the workings of our language" (PI, I, § 109). Moreover, Wittgenstein avoids psychology which involves the mental faculties. Presumably, this puts him at one with die concerted effort of many critics to rid texts of die author and with it the problem of intentionality. At first blush, then, the relation between Wittgenstein and literary criticism appears to be an attractive one. Yet Wittgenstein's antirealism does not militate against his passion for truth, that is, his intense desire to achieve complete understanding in the areas ofphilosophy that vexed him most.3 Nor does it debar him from thinking about the inexpressible realm 263 264Philosophy and Literature of the mystical, since, despite his concern for language, Wittgenstein never ceased being attracted to "things that cannot be put into words" (TLP, 6.522). This is not at all congenial to die purpose ofliterary theory, which admits ofno such shadowy domain beyond words and our linguistic practices. Indeed, I shall illustrate that Wittgenstein's resdess search for truth, spiritual concerns, and the dialectical structure of his works for the most part put him radically at odds with a critical enterprise whose aversion to truth and penchant for rhetorical analysis and conventions blinds it to both his view of literature and his aim in doing philosophy. I Since die advent of the New Criticism, literary theory has in great measure addressed itself to die discourse ramer than the story in texts. With the focus on literature as a rhetorical construct, more traditional humanistic interpretations have been excised. A more recent development of this shift to the discursive side of diings has been the effort to blur the distinction between literature and philosophy.4 With neidier discipline having a privileged status, both have been reduced to a textual discourse with no lines ofdemarcation, a reduction diat is at variance with Wittgenstein on two counts. First, he compartmentalized literature and philosophy as having distinct purposes: the literary works that interested him were stories ofmoral import; philosophy was to be practiced for the sake of clarity in thought. To the extent diat such clarity, if attainable, pointed toward an ethical dimension that lay beyond the bounds of language, literature and philosophy for him did have a common goal; but the paths leading to it were distinct. Second, and more importantly, Wittgenstein had no concern for the discourse of the literature diat he read. Rather, it was the moral import of the stories that attracted him. Most noteworthy on this score were the writings of Tolstoy, who had a profound influence on Wittgenstein's view oflife, and Dostoevsky.5 Wittgenstein often recommended Tolstoy's Twenty-three Tales to his friends, and while a schoolmaster in Lower Austria from 1920 to 1926, he constantly read The Brothers Karamazov, doing so aloud on one occasion in die presence of the village priest. He was especially impressed with Dostoevsky's character the Elder Zossima, "who could see into people's hearts and direct diem" (Rhees... (shrink)

Introduction: Humanist Literary Theory -- Structuralism -- Deconstruction -- Psychoanalysis -- Feminist Theories -- Queer Theories -- Ideology and Discourse -- Race and Postcolonialism -- Ecocriticism -- Postmodernism -- Biographies -- Terms.

After introducing the main Platonic issues in the field of literary theory and aesthetics, the author discusses Proclus’ relationship to the study of literature in late antiquity; his own literary theory and his use of allegorical interpretation; and the wider context of Proclus’ Neoplatonist aesthetics. She shows how his aesthetics pans out in his view of visual art, as referring to higher realities via Homer’s poetry, and of music, including a form of inspired music. The author (...) then moves on to Proclus’ metaphysics of beauty itself, and the relation between transcendent Beauty and the beauty of the universe. She concludes by pointing out the relevance of Proclus’ literary theory and aesthetics for his metaphysics. (shrink)

The essential guide to understanding what literary theory is and why it matters.

Sample quotes from emails sent by visitors to Mary Klages's successful literary theory web pages on which this book is based: 'Finding your course was a godsend ...

Donald Davidson is probably the most eminent living analytic philosopher, and his writings in philosophy of language and philosophy of action have shaped much of the recent work in both these fields. However, despite the obvious shared concerns of literary theory and these aspects of philosophy, up to this point literary theorists have not paid much attention to Davidson's ideas or have only known about them through the interpretations of other philosophers like Richard Rorty. Literary theorists (...) have seen more relevance to their concerns in Continental philosophy and, among analytic philosophers, in the essentially anti-analytic work of J. L. Austin and Ludwig Wittgenstein than in the harder tradition of analytic philosophy—more concerned with logic and philosophy of science—represented by the work of Donald Davidson. _Literary Theory after Davidson _challenges both views, stressing the variety of ways in which Davidson's thought can contribute to the development of literary theory. Davidson himself has contributed a new essay to the collection that explores the interrelations between his theories of language and literature. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for (...) use in introductory courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

Jacques Derrida’s “Signature Event Context” is one of the most famous papers in literary theory, but there are aspects of it which, in my experience, are not commented on. Why are there no commas in the title? I present a puzzle, but there is a solution which I presume many will quickly go for.

This article brings together feminist literary theory and law by approaching a number of U.S. Federal cases on sex equality in light of the work of the renowned feminist literary critic Naomi Schor, and shows that literary theory constitutes an under-explored resource for feminist legal critique. Schor’s writings constitute a sustained rumination on the relationship between reading and feminism. Drawing on writings on language and the body by key French feminist theorists, Schor advances a method (...) of interpretation which she terms, provocatively, ‘clitoral reading’, and which focuses on the place of details relating to women’s bodies and desires within literary and cultural discourses. In the course of her career, she analysed texts from domains as diverse as literature, philosophy, visual art, the history of fashion, and photography. I will demonstrate that her work can make a valuable contribution to legal studies by using it as an interpretative lens to re-examine U.S. Federal court judgments. (shrink)

This anthology of classic and cutting-edge statements in literary theory has now been updated to include recent influential texts in the areas of Ethnic Studies, Postcolonialism and International Studies. A definitive collection of classic statements in criticism and new theoretical work from the past few decades. All the major schools and methods that make up the dynamic field of literary theory are represented, from Formalism to Postcolonialism. Enables students to familiarise themselves with the most recent developments (...) in literary theory and with the traditions from which these new theories derive. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Moving Literary Theory OnWendell V. HarrisParadox has long been especially seductive to literary critics and theorists. For the New Critics, the presence of paradox in a text served to vouch for the complexity and therefore value of the perspective on life the text offered. For poststructuralists it seems to be even more important: paradox is the hallmark of earnestness. And if paradox is good, self-contradiction is (...) even better. That at least would seem to be the reasoning that justifies the amount of internal contradiction to be encountered among the critical principles most in vogue these days. Let us note twelve of the most egregious of these contradictions.(1) New Criticism is dead. But the New Critics’ major activity, the pursuit of the author’s intended meaning through close reading, is still very much with us. However much poststructuralists have wished to deny the importance of or possibility of achieving understanding of authorially intended meaning, their own critical commentary necessarily begins with the meaning the author is assumed to have intended. For instance, that which Derrida seeks to deconstruct or undercut in Saussure, Rousseau, Austin, or Searle begins in what he thinks they intended to say. However, the New Critic sought to resolve apparent contradictions on the principle that the interpretation producing the greatest consistency would be nearest the author’s meaning (since the author was assumed to have assumed that the reader would assume that the author intended a non-contradictory statement). In contrast, the poststructuralist typically seeks to find and emphasize or, if necessary, induce contradiction—but only after having assumed that degree of consonance and unity in the text necessary to interpret the intended meaning within which can be sought the contradictions for the [End Page 428] discovery of which the reading was undertaken. The result is thus more often than not a New Critical reading into which contradictions have been injected. One is reminded of the old story of the student in a short story writing class who told his friend that he had the story all written—all he had to do was go back and put in the symbols. The typical poststructuralist begins with a reading much like what one would expect from a New Critic and then begins inducing contradictions.(2) Literature and language cannot really be about anything beyond themselves. At the same time literature and the language on which it is dependent are regarded as largely constituting that which we experience. If language cannot refer to non-linguistic things and events, either it cannot have the power to shape our classifications, descriptions, and evaluations of things and events experienced, or there exists nothing beyond language—in which case we can abolish poverty, racism, and sexism by denying that those words have any meaning. Moreover, if language is about nothing but itself, any formulation that uses language to make statements denying the relationship of language to anything outside itself must be meaningless.(3) All narratives, indeed all statements about the world, are fictional. Yet “fictional” would have no meaning if it did not stand in contrast to those things that are not fictional, while the distinctions made available by the contrast are ones we can hardly do without. There are narratives (1) that both tellers and their hearers/readers know to be not true (“not to be the case” is the evasive formulation popular with philosophers), (2) that tellers and/or hearers/readers think true though they prove not to be, and (3) that tellers think true and are in fact partially, perhaps largely true, but erroneous in some details and necessarily incomplete. These classifications require a modicum of explanation, but to lose one’s way among them would seem to require a wilful pursuit of confusion.Class 1. Oliver Twist is fictional even though there were workhouses, thieves, and such sites as The Angel and Newgate existing at the time at which the narrative is set. Of course, within a fictional narrative, there may be subnarratives the reader is to regard as true within the total fictional narrative and others that are to be regarded as false. To take a light-hearted example, within the narrative of Gilbert and... (shrink)

The essays in this collection are concerned with the philosophical problems that arise in connection with the understanding and evaluation of literature - such problems as the relationship between the work and the author (authorial intention), between the work and the world (reference and truth), the definition of a literary work, and the nature of literary theory itself. Professor Olsen attacks many of the orthodoxies of modern literary theory, in particular the enterprise to build a (...) comprehensive systematic literary theory. His own work is informed by a consistent perspective: the assumption that literature is a social institution governed by conventions, and that answers to problems of interpretation and appreciation can be found only through an analysis of these conventions. This is an important book for scholars and students of literary theory and philosophy, especially for those who see an ever-increasing cross-fertilization between the two disciplines. (shrink)

A book review of Literary Theory After Davidson edited by Reed Way Dasenbrock.

Global Literary Theory: An Anthology comprises a selection of classic, must-read essays alongside contemporary and global extracts, providing an engaging and timely overview of literary theory. The volume is thoroughly introduced in the General Introduction and Section Introductions and each piece is contextualised within the wider sphere of global theory. Each section also includes annotated suggestions for further reading to help the reader navigate the extensive literature on each topic. The volume engages with the 'internationalising' (...) of the curriculum as well as the globalization of literature and theory. Alongside these key themes, the volume also extends its coverage to include: The core topics and theorists from formalism and structuralism to post-modernism and deconstruction Digital humanities and humanities computing and their relevance to globalization and literary theory The religious turn in literary theory and philosophy New textualities such as auto/biography, travel writing and ecocritcism Oppositional texts which 'write back' against the canon In addition, the book's Companion Website features an interactive world map incorporating biographies of every theorist in the book, as well as biographies of additional influential theorists. Crucially, this anthology shows that ethnic, postcolonial studies and globalization are not simply niche areas of literary study but are of concern across the contemporary humanities and that new voices are always emerging, and being discovered, from around the globe. As such, this volume offers a refocusing of essential literary theory, extending the canon in line with ongoing debates concerning contemporary cultural and geographic borders. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LITERARY THEORY, PHILOSOPHY OF HISTORY AND EXEGESIS XYONE FAMILIAR with the present state of biblical studies is aware that there is a significant shift on the part of many,scholars away from the historical critical method as it was practiced earlier toward methods that are based upon various theories of literature.1 Criteria for judging the aptitude of either the historical or literary method are often established on (...) the ·basis of their practical effectiveness in " yielding a meaning," particularly one that seems to serve the believing community. The difficulty with such an approach is that the philosophical principles latent in and undedying the various methods are not examined directly and are thus left to function unquestioned while the debate centers on results. The purpose of this study is modest. It is to reflect critically on a concrete work of exegesis in order to see how exegesis actually proceeds or might proceed. I a1so wish to question some of the unexpressed epistemological principles that often operate in whrut biblical scholars do. Taking rus a model those historians who have reflected philosophically on what it means to do history, I wish in a similar manner to reflect on what it means to do exegesis·. Such an undertaking, it is hoped, will advance the dialogue between systematic theology and exegesis and indicate further avenues to be explored. We have arrived at a moment when it is in the interest of both disciplines to have a clearer notion of how to assess the results of biblical study. It is becoming increasingly obvious that the central issue in biblical studies is not method as such, though discussion of 1 For a description of more profound aspects of this shift, see: J. P. Martin, "Toward a Post-Critical Paradigm," New Testament Studies 33 (1987) 370-385. 575 576 FRANCIS MARTIN what is called the historical critical method, the literary method, etc. will always have its place. The core problem is that of developing a theology of human communication. This will be a theology that learns from the philosophy of language and literature and yet derives its primary lessons from the unique communication that each theologian experiences in his or her personal contact with the biblical text. The work done by Paul Ricoeur in the field of the philosophy of l1 anguage and literature can provide a, point of departure in the elaboration of such a theology of communication. In addition to reflecting philosophically on many aspects of human communication, Ricoeur has expressed himself from time to time on the relation of his philosophy to biblica,l issues. Thus, in his essay, " Toward a Hermeneutic of the Idea of Revelation," 2 Ricoeur speaks of biblical hermeneutic as being " one regional hermeneutic within a general hermeneutic and a unique hermeneutic that is joined to philosophy as its organon." 3 In discussing the expression of dependence without heteronomy, at the conclusion his essay, Ricoeur goes on to say:... the experience of testimony can only provide the horizon for a specifically religious and biblical experience of revelation, without our ever being able to derive that experience from the philosophical categories of truth as manifestation and reflection as testimony.4 These statements, as we can easily recognize, touch upon a key dimension of the problem facing us as we attempt to locate the human communication of the scriptures in the context of revelation. The question is that of the presence of the unique existing within the common. It is the fact that the particular and irreducible nature of the biblical witness is necessarily made in language common to 1 alL Scripture directs itself, not 2Now found in L. Mudge (ed.), Essays iAi Bibliaal Interpretation (Philadelphia : Fortress, 1980), pp. 73-118. See in addition, "Naming God," Union Seminary Quarterly Review 34 (1979) 215-227. 3" Toward a Hermeneutic," p. 104. 4Jbid., p. 117. LITERARY THEORY, HISTORY AND EXEGESIS 577 to a remote and privileged sphere of " religion," but rather to the marketplace where human thoughts about existence jostle one another in a desire to be heard: Wisdom cries aloud in the street, in the open squares she raises her voice. Down the crowded ways she calls out, at the city gates she... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ancient Quarrel Revisited:Literary Theory and the Return to EthicsJoseph G. KronickThe modern quarrel between theory and practice, like the ancient one between philosophy and poetry, is at once a practical one—at its heart is the question how we should live—and a pedagogical one—who or what is the proper teacher of virtue? Today, the quarrel is between theory and literature rather than between philosophy and (...) poetry, a change that has not been beneficial. The modern complaint against the abstractions of theory reflects a diminution in the quality of the argument. For the ancient Greeks, to ask about the virtuous life was to inquire into what it is to be human, for aretê, which is typically translated as "virtue," but is understood to mean "excellence" or "goodness," meant acting in accordance with what it is to be fully human. 1 The notion that "real issues," as one prominent theorist argues, belong to the realm of action and epistemological and ontological questions to the abstract realm of theory is a simplification of the more serious question of the relation of particulars to universals. It reverses the Platonic and Aristotelian hierarchy that makes thinking the highest form of activity. But something else is going on in this call to action: in denigrating thinking as abstract, it elevates doxa, opinion, in its place. Under the regime of doxa, two things occur: philosophy and poetry are looked upon as useless because utility becomes the criteria for measuring value, and singularity is looked upon with disdain, if it is, indeed, acknowledged at all, because to the extent the world as it appears is common to us all, doxa is not distinct or individual but uniform or the same. Philosophy and poetry share not only the stigma of being deemed useless, but they are dismissed as odd, singular, not common.This essay is concerned with the status of the singular in philosophy [End Page 436] and poetry. The ancient quarrel has not been settled, which may indeed be a good thing because the quarrel keeps alive the question, who is to speak for that which cannot be spoken of, the singular? Silence may be the appropriate response, yet to preserve the experience of that which resists language is the task of philosophy and poetry, hence the quarrel. A long tradition has it that the philosopher seeks universals, while the poet offers particular images of virtue, but at the heart of this argument over ethics is the question of how to account for the singular or unique. To do so, I turn to Socrates, whose singularity remains unaccounted for to this day.Socrates may be said to embody the very problem of the relation between philosophy and literature, for he left us no writings and exists for us primarily through the writings of Plato. Yet there is widespread acceptance of Plato's portrait of him, particularly as to Socrates' method, the elenchus, and his principle of the priority of definitions. However, Socrates' insistence upon the priority of definition is not an example of the philosopher elevating theory over experience but a practical issue involving the care of the self. Furthermore, in ancient Greece, moral and philosophical questions concerning the soul were as much the provenance of poetry as they were of philosophy. The search for truth is a practical matter concerning the conduct of life, but the Platonic philosopher wishes to give a rational account, or logos, that would link conduct to knowledge, whereas the poet's examples are bound to their representations. Nevertheless, to presume that Socrates was seeking a definition of virtue on the grounds that possession of the definition would translate into a good life is an absurdity, for he could never have sought after the knowledge of virtue if his mode of life depended upon the definition rather than on his character. 2The error is to accuse Socrates of placing abstract knowledge before virtuous conduct. When Socrates asks for a definition of the beautiful, for instance, he does not reject the answer, "the beautiful is a beautiful woman," because it confuses a particular with a universal (when compared to the beauty of the gods, the woman is... (shrink)

Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis. -/- This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and (...) critical praxis – that argue for the value of contemporary literary theory to a critical criminology concerned with the construction of a just and sustainable reality in the face of climate change and other mass harms. This is the first criminology book to engage with literary theory from the perspective of criminology and provides a guide for criminologists who want to deploy literary theory as part of their research programmes. It supersedes existing engagements with poststructuralism in the philosophical criminological tradition because it entails neither a constructionist ontology nor a relativist epistemology. It shows criminologists how literary theory offers the tools to first deconstruct and then reconstruct meaning and value. -/- Literary Theory and Criminology is essential reading for all critical criminological theorists. (shrink)

Ferdinand de Saussure's distinction between parole and langue has greatly helped linguists to clarify the relationship between particular speech events and the underlying reservoir of verbal signs and combinatory rules. The relationship emerges from Saussure's Cours de linguistique générale as one between concrete instances of employed language and a slowly but permanently changing virtual system.1 It seems to me that the more recent literary distinctions between the implied author of a work and its actual author and between the implied (...) and the actual reader point to similar relationships along the rhetorical axis of communication.2 For example, the respective authors implied by The Comedy of Errors and by The Tempest are in a sense fixed, concrete manifestations of the actual author whose permanently shifting potential of manifesting himself in literary works or otherwise was only partially realized between 1564 and 1616; his full potential has thus forever remained virtual. The congenial readers implied by the respective plays are in turn two of many "roles" which an actual reader may attempt to slip into for the length of time it takes him to read one work or another. Even a book like Mein Kampf will be adequately understood only by men and women able and willing temporarily to become Adolf Hitler's implied readers. The price may be high, but having shed the mental mask and costume required for the proper "performance" of the text, a discerning person will emerge from the ordeal with a keener sense of the despicable part assigned to the book's actual readers. I hardly need to add that works of imaginative literature tend to imply readers whose intellectual, emotive, and moral response is far less predetermined than is the response of the reader implied by the typical work of assertive discourse. · 1. Ferdinand de Saussure, Cours de linguistique générale , 4th ed. . Since this book was posthumously compiled from the notes of students attending three different sets of lectures, I am not overly troubled by the fact that the letter of at least two sentences seems to contradict my characterization of langue as a virtual and changing system: "La langue n'est pas moins que la parole un objet de nature concrète" and "tout ce qui est diachronique dans la langue ne l'est que par la parole" . See also Wade Baskin's English trans., Course in General Linguistics , pp. 15 and 98.· 2. See esp. Wayne C. Booth, The Rhetoric of Fiction and Wolfgang Iser Der implizite Leser , trans. as The Implied Reader . Paul Hernadi is professor of English and comparative literature at the University of Iowa. His book, Beyond Genre: New Direction in Literary Classification, is soon to appear in Spanish translation. He has edited a collection of essays titled What is Literature? and written a book on modern historical tragicomedy. "On the How, What, and Why of Narrative" was contributed to Critical Inquiry in the Autumn 1980 issue. (shrink)

As the title of this volume indicates, its focus is medieval literary theory and criticism, primarily "the tradition of systematic commentary on authors both sacred and profane, Latin and vernacular, 'ancient' and 'modern', from around 1100 until around 1375". Of necessity the contents are selective, but represent an extensive range of writing. This includes introductions to textual exposition on canonical authors, as they provide a theoretical framework for literary theory in terms of the "Aristotelian four causes"; (...) a prologue to the Sic et non of Peter Abelard; theorizing about the use of language which takes place outside a commentary per se, as in the theological treatises of Thomas Aquinas and Henry of Ghent; and a letter by Dante in which he speaks "in the capacity of commentator". (shrink)

Presupposing that all knowledge is the study of a unitary order of nature, the author maintains that the study of literature should be included within the larger field of evolutionary theory. He outlines four elementary concepts in evolutionary theory, and he argues that these concepts should regulate our understanding of literature. On the basis of these concepts, he repudiates the antirealist and irrationalist views that, under the aegis of “poststructuralism,” have dominated academic literary studies for the past (...) two decades. He examines the linkage between poststructuralism and standard social science, and he speculates about the ideological and disciplinary motives that have hitherto impeded evolutionary study in both the social sciences and the humanities. Finally, he distinguishes literature from science and argues that literary criticism integrates elements of both. (shrink)

While most theory books treat theorists and schools through isolated encyclopedia entries or self-contained chapters, Critical Confrontations brings theories into dialogue so that their differences, commonalities, and possibilities can be assessed. Each chapter builds upon the preceding one so that the reader can follow a continuous dialogue with what has come before. The book includes discussions of Gadamer, Derrida, Kristeva, Foucault, Bakhtin, Butler, Habermas, West, and Said as well as literary texts by Marie Cardinal, Toni Morrison, Ralph Ellison (...) and Susan Glaspell. (shrink)

The book revives literary theory, which was popular at the end of the 20th century, with the purpose of showing how useful it is in the current century in opening the minds of students to the dangers of claiming to have a fixed identity. It shows that in Western cultures identity is a construct that always sees individuals as lacking something (being fallen) that can be retrieved or gained at the expense of an Other, an adversary seen as (...) standing in the way of identity fulfillment. The history of "fallenness" is expressed through an analysis of Melville's Billy Budd, Faulkner's Absalom, Absalom!, Pynchon's The Crying of Lot 49. The book also shows ways to heal identity through an analysis of Toni Morrison's Beloved and Rudolfo Anaya's Tortuga. (shrink)

Discussing the work of Karl Marx, Sigmund Freud, Michel Foucault, Jacques Derrida, and Hlne Cixous, Shakespeare and Literary Theory argues that literary theory is less an external set of ideas anachronistically imposed on Shakespeare's texts than a mode - or several modes - of critical reflection inspired by, and emerging from, his writing.

This paper explores the intersections of literary theory and ancient philosophy, with a specific focus on how these disciplines enhance our understanding of sacred texts. It examines the historical development of classical Chinese literary criticism and its influence on Western thought, particularly through the lens of the early 20th century’s integration of Western literary concepts. This integration, often mediated through Japanese interpretations, provided a new framework for the "scientific study" of ancient Chinese texts, blending traditional Confucian (...) interpretations with Western analytical methods. The paper delves into how cognitive linguistics, especially the conceptual metaphor theory, aids in understanding philosophical views of the heart in ancient Chinese philosophy—as not just the seat of emotions but as a central governing entity analogous to political rulers. By examining this metaphor, the study highlights the profound implications of linguistic and literary frameworks in interpreting the philosophical and spiritual dimensions of ancient texts, offering new insights into their ethical and religious significance. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for (...) use in introductory courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

In this lucid and elegantly written book, Joel Weinsheimer discusses how the insights of Hans-Georg Gadamer alter our understanding of literary theory and interpretation. Weinsheimer begins by surveying modern hermeneutics from Schleiermacher to Riocoeur, showing that Gadamer’s work is situated in the middle of an ongoing dialogue. Gadamer’s hermeneutics, says Weinsheimer, is specifically philosophical for it explores how understanding occurs at all, not how it should be regulated in order to function more rigorously or effectively. According to Weinsheimer, (...) Gadamer views understanding as an effect of history, not an action but a passion, something that happens to the interpreter. Gadamer offers a new model of historical understanding that is based on metaphor: it fuses the different into the same but, like metaphor, does not repress difference. Similarly, Gadamer’s critique of the semiotic conception of language redresses the balance between difference and sameness in the relation of word and world. The common thread in the contributions of philosophical hermeneutics to literary theory is the multifaceted tension between the one and the many, between sameness and difference. This appears in metaphor and application, in the complex dialogue between the past and present, and between the interpretation and the interpreted generally. In the final chapter of the book, “The Question of the Classic,” Weinsheimer explores the implications of this analysis of Gadamer’s hermeneutics for the current debate concerning the study of the canon and the classic. (shrink)