Recently, a number of Anglo-American philosophers of very different sorts--pragmatists, metaphysicians, philosophers of language, philosophers of law, moral philosophers--have taken a reflective rather than merely recreational interest in literature. Does this literary turn mean that philosophy is coming to an end or merely down to earth? In this collection of essays, one of the most insightful of contemporary literary theorists investigates the intersection of literature and philosophy, analyzing the emerging preferences for practice over theory, particulars over universals, (...) events over structures, inhabitants over spectators, an ethics of responsibility over a morality of rules, and a desire for intimacy with the world instead of simply a disengaged knowledge of it. (shrink)

This timely book argues that the institutionalisation of literary theory, particularly within American and British academic circles, has led to a sterility of thought which ignores the special character of literary art. Mark Edmundson traces the origins of this tendency to the ancient quarrel between philosophy and poetry, in which Plato took the side of philosophy; and he shows how the work of modern theorists - Foucault, Derrida, de Man and Bloom - exhibits similar drives to subsume poetic art (...) into some 'higher' kind of thought. Challenging and controversial, this book should be read by all teachers of literature and of theory, and by anyone concerned about the future of institutionalised literary studies. (shrink)

Eric Prieto is a professor of French and Comparative Literature at the University of California, Santa Barbara. He is the author of Listening In: Music, Mind, and the Modernist Narrative, and numerous essays on music-and-literature, literary spatiality, Caribbean literature, and literary theory.

These lectures by one of the most influential and original philosophers of the twentieth century constitute a sustained argument for the philosophical basis of romanticism, particularly in its American rendering. Through his examination of such authors as Emerson, Thoreau, Poe, Wordsworth, and Coleridge, Stanley Cavell shows that romanticism and American transcendentalism represent a serious philosophical response to the challenge of skepticism that underlies the writings of Wittgenstein and Austin on ordinary language.

In what sense is a consideration of a writer's intentions relevant to the reading and appreciation of his work? In the past half century, powerful arguments have been advanced that they are not relevant at all. Patrick Swinden examines the conduct of the anti-intentionalist argument by exponents of Anglo-American new criticism, European structuralism and various kinds of post-modernist theory, and finds it wanting. He enlists the aid of Kantian aesthetics and contemporary philosophy of language and action in an attempt (...) to reinstate mental operations leading to motivated and purposive action. The philosophical argument is reinforced by examination of the ways in which Shakespeare and other writers represent motive, intention and purpose in their work. (shrink)

This Guide to the archive presents political theory’s engagement with American literature via a focus on the tension between the real and the imaginative as a source for politics.

These essays deal with the scholarly study of the genesis, transmission, and editorial reconstitution of texts by exploring the connections between textual instability and textual theory, interpretation, and pedagogy. What makes this collection unique is that each essay brings a different theoretical orientation-New Historicism, Poststructuralism, or Feminism-to bear upon a different text, such as Whitman's Leaves of Grass , Faulkner's The Sound and the Fury, or hypertext fiction, to explore the dialectical relationship between texts and textuality. The essays bring some (...) of the textual theories that compete with each other today into contact with a broad range of primarily literary textual histories. That texts are intrinsically unstable, frequently consisting of a series of determinate historical versions, has consequences for all students of literature, because different versions of a literary work frequently help shape different readings independently of the interpretations brought to bear upon them. Textual instability of the works is relevant to our understanding of how the meanings of texts are generated. The contributors build on the numerous challenges to the Anglo-American editorial tradition mounted during the past decade by scholars as diverse as Jerome McGann, D.F. McKenzie, Peter Shillingsburg, D.C. Greetham, Hershel Parker, and Hans Walter Gabler. The volume contributes to the paradigm shift in textual scholarship inaugurated by these scholars. Index. (shrink)

Over the years, Katie Cannon's students referred to her work in progress as "Katie's canon." Not only does this book represent the canon of Cannon's best work; the book itself directly addresses the issues of canon formation and canon reformation. Cannon canonizes a literary tradition and directly addresses both oppression and liberation of African American women. Now in an expanded 25th-anniversary edition, Katie's Canon still packs firepower.

Although there are distinctly American artists-Walt Whitman, Herman Melville, Grandma Moses, Thomas Hart Benton, and Andy Warhol, for example-very little attention has been devoted to formulating any distinctively American characteristics of aesthetic judgment and practice. This volume takes a step in this direction, presenting an introductory essay on the possibility of such a distinctly American tradition, and a collection of essays exploring particular examples from a variety of angles. Some of the essays in this collection extend pragmatist (...) and process insights about the important place aesthetics has in molding and assessing experience. Other essays examine the place of American aesthetics in relation to such particular forms of art as painting, literature, music, and film. Three essays attend to the aesthetic aspects of a flourishing life. In each of the essays, American aesthetics is understood to arise out of deeply felt personal, historical, and cultural backgrounds. Consequently, not only are such relatively abstract notions as harmony, fit, elegance, proportion, and the like involved in aesthetic judgment, but also religious, political, and social factors become embroiled in aesthetic discernment. Thus the ongoing pattern of American aesthetics is shown to be distinguishable from such other varieties of aesthetic thought as analytic aesthetics, New Criticism, and postmodern approaches to aesthetics. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a commodity. · (...) Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

Examining the literature of slavery and race before the Civil War, Maurice Lee demonstrates for the first time exactly how the slavery crisis became a crisis of philosophy that exposed the breakdown of national consensus and the limits of rational authority. Poe, Stowe, Douglass, Melville, and Emerson were among the antebellum authors who tried - and failed - to find rational solutions to the slavery conflict. Unable to mediate the slavery controversy as the nation moved toward war, their writings (...) form an uneasy transition between the confident rationalism of the American Enlightenment and the more skeptical thought of the pragmatists. Lee draws on antebellum moral philosophy, political theory, and metaphysics, bringing a fresh perspective to the literature of slavery - one that synthesizes cultural studies and intellectual history to argue that romantic, sentimental, and black Atlantic writers all struggled with modernity when facing the slavery crisis. (shrink)

These comments of Walt Whitman may surprise some, as he is not usually considered a Hegelian of any stripe. But then, this entire collection of essays on Hegel and American literature comes as something of a surprise, given the current state of literary theory. It turns out that Whitman’s attention to Hegel was both fitful and oracular. He had read only the selections printed in Frederic Hedge’s compendium, Prose Writers of Germany, i.e., short excerpts from the Philosophy of (...) History and the essay, “Who Thinksly?”. Nor can Hegel plausibly be said to have greatly influenced other writers or critics, despite Cowan’s claim in the introduction; the St Louis Hegelians never dominated the intellectual life of the late nineteenth century. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites (...) us to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

It is important for the materialist historian, in the most rigorous way possible, to differentiate the construction of a historical state of affairs from what one customarily calls its "reconstruction." The "reconstruction" in empathy is one- dimensional. "Construction" presupposes "destruction." Almost fourteen years after the death of Jacques Derrida, the least one can say is that his inheritance is as contested and fraught with rivalries, rejections, and appropriations as at the time of the flowering of Deconstruction in American universities (...) in the seventies and eighties. A halt was observed in 1988-89 after the posthumous revelations about Paul de Man's past in Belgium and Derrida's embattled defense of his friend. Today, in France, one often hears that "Derrida a fait l'Ecole mais n'a pas fait ecole," meaning that Derrida passed the entrance examination of the prestigious Ecole Normale Superieure where he taught for a long time, where he met Paul Celan, Louis Althusser, Michel Foucault and many other luminaries, whereas he never had a real "school" in France-no real institutional backing beyond the various Parisian places at which he taught later, or those that he founded like the College de Philosophie; his following constituted of young philosophers, only a few of whom became university professors in their turn and disseminated his teachings. However, the mechanisms of power within the French university remained closed to Derrida until the end; besides, he wanted to prevent the stereotyped reproduction currently observed from master to disciple. (shrink)

The early work of Mikhail Bakhtin is notable for its emphasis on questions in ethics and philosophy. Focusing on these early writings, though also informed by Bakhtin's later works of the early 1970s, the authors in this volume explore the human and prosaic dimensions of ethical and moral dilemmas, whether in the philosophical concerns of the Young Hegelians, the iconography and implicit doctrine of Christian redemption in Dostoevsky's Crime and Punishment, in testimonial accounts of political martyrs in Latin America, or (...) in the nationalist features of Russian Village Prose. Incorporating a variety of disciplinary backgrounds into their essays, including theater arts, philosophy, history, women's studies, Latin American literature, and Russian literature, the authors take Bakhtin's ethics, as articulated in his writings of 1919-1929, and extend them into areas of thought that themselves enter into fruitful dialogue with his theoretical positions, endeavoring at all times to remain cognizant of both Russian and Western views of Bakhtin. The essayists' interactions attest to the productivity of any thoughtful encounter with Bakhtin's work and to the transformational nature of his work's impact on the myriad disciplines that it affects. Bakhtin's thought exerted a profound, systemic influence on many areas of knowledge as they have been configured in the twentieth century and, as this volume amply demonstrates, promises to do the same for the twenty-first. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:429 THE HUME LITERATURE FOR 1985 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship: A Bibliographical Guide (Edinburgh University Press, 1978; £9.50), which also lists the main earlier writings on Hume. (The book is still in print.) Publications of the years 1977 to 1984 were listed in previous issues of Hume Studies. What follows here will (...) bring the record up to the end of 1985. Readers are invited to inform me of any omissions, and keenly requested to send me offprints of their own articles and reviews. Hardly any do so at present, and it would greatly ease the labour of collection. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of this annual bibliography, with addenda consisting of items omitted through ignorance in previous years. References to recently appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQ American Philosophical Quarterly HPQ History of Philosophy Quarterly JHI Journal of the History of Ideas JHP Journal of the History of Philosophy JP Journal of Philosophy PAS Proceedings of the Aristotelian Society PB Philosophical Books PQ Philosophical Quarterly PR Philosophical Review RIP Revue Internationale de Philosophie RM Review of Metaphysics TLS Times Literary Supplement 430 Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). AGASSI, J. "The Unity of Hume's Thought", Hume Studies (10th Anniv. Issue), 87-109. AUSTIN, W. H. "Philo's Reversal", Phil. Topics 13, no. 2, 103-12. BADIA CABRERA, M. A. "Hume's Natural History of Religion: Positive Science or Metaphysical Vision of Religion", Diálogos 20, 71-8. BAIER, A. Postures of the Mind, ch. 10 ("Promises, Promises, Promises"), ch. 11 ("Civilizing Practices"). London, etc. BEHAN, D. P. "Hume's Labyrinth", HPg 2, 309-22. BENNETT, D. "Hume's Pride", in B. Vermazen, Essays on Davidson, 89-91. Oxford. BIRO, J. L. "Hume and Cognitive Science", HPQ 2, 257-74. BLANDINO, G. "Le causalitate. Discussion sur le criticas de D. Hume" [in Interlingua, with French and English], Aquinas 28, 247-57. BRICKE, J. "Locke, Hume and the Nature of Volitions", Hume Studies (10th Anniv. Issue), 15-51. BROOKS, D. "Hume's Bundle Theory of the Mind", S. African J. Phil. 4, 75-84. BROOKS, D. H. M. "Strawson, Hume, and the Unity of Consciousness", Mind 94, 583-6. CAMPBELL, K. "John Passmore and Hume's Moral Philosophy", Hume Studies 11, 109-24. CAPALDI, N. "The Historical and Philosophical Significance of Hume's Theory of the Self", in A.J. Holland, Philosophy, Its History and Historiography, 271-85, Dordrecht, etc. 431 CARLSON, G. R. "Hume and the Moral Realists", Australas. J. Phil. 63, 407-18. CHAKRABARTI, T. K. "Hume's Definitions of Cause", J. Indian Council Phil. Res., 67-75. CHEN, W. -S. Article (in Chinese) on Hume on personal identity, in Phil. Rev. (Taiwan) 8, 123-42. CLARK, S. R. L. "Hume, Animals and the Objectivity of Morals", P£ 35, 117-33. CLERO, J. P. La philosophie des passions chez David Hume. (301 pp.) Paris. DANIEL, S. C "The Problem of Identity of Objects in Hume's Philosophy", Indian Phil. Q. 12, 1916. DAVIE, W. "Hume on Morality, Action, and Character", HPQ 2, 337-48. DEWITT, R. "Hume's Probability Argument of I, iv, 1", Hume Studies 11, 125-40. DONNICI, R. "Husserl sull' etica di Hume. Dalle lezioni inedite del 1902", Rivista di storia della filosofia 40, 449-70. ENC, B. "Hume on Causal Necessity: A Study from the Perspective of Hume's Theory of Passions", HPQ 2, 235-56. FERREIRA, M.J. "Hume's Naturalism - 'Proof and Practice", P£ 35, 45-57. FLAGE, D.E. "Hume on Memory and Causation", Hume Studies (10th Anniv. Issue), 168-88. [11 (1985) 166-72] FLAGE, D.E. "Perchance to Dream: A Reply to Traiger", Hume Studies 11, 173-82. (on Traiger 1985b) FLAGE, D.E. "Hume's Ethics", Phil. Topics 13, no. 3, 71-88. FLEW, A. "Impressions and Experiences: Public or Private?", Hume Studies 11, 183-91. 432 FOGELIN, R.J. Hume's Skepticism... (shrink)

During the nineteenth and early twentieth centuries, a wide variety of American writers proposed the existence of energies connecting human beings to cosmic processes. From varying points of view--scientific, philosophical, religious, and literary--they suggested that such energies would eventually result in the perfection of individual and collective bodies, assuming that assimilation into larger networks of being meant the expansion of humanity's powers and potentialities--a belief that continues to inform much posthumanist theory today. Universes without Us explores a lesser-known countertradition (...) in American literature. As Matthew A. Taylor's incisive readings reveal, the heterodox cosmologies of Edgar Allan Poe, Henry Adams, Charles Chesnutt, and Zora Neale Hurston reject the anthropocentric fantasy that sees the universe as a kind of reservoir of self-realization. For these authors, the world can be made neither "other" nor "mirror." Instead, humans are enmeshed with "alien" processes that are both constitutive and destructive of "us." By envisioning universes no longer our own, these cosmologies picture a form of interconnectedness that denies any human ability to master it. Universes without Us demonstrates how the questions, possibilities, and dangers raised by the posthuman appeared nearly two centuries ago. Taylor finds in these works an untimely engagement with posthumanism, particularly in their imagining of universes in which humans are only one category of heterogeneous thing in a vast array of species, objects, and forces. He shows how posthumanist theory can illuminate American literary texts and how those texts might, in turn, prompt a reassessment of posthumanist theory. By understanding the posthuman as a materialist cosmology rather than a technological innovation, Taylor extends the range of thinkers who can be included in contemporary conversations about the posthuman. (shrink)

An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry.

Literature and Theory is designed to introduce and help scholars and students to apply key critical theories to literary texts. Focusing on representative works and authors widely taught across classrooms in the world - Joyce, Dickinson, Shakespeare, Beckett, Eliot, Octavia Butler - it distils the different aspects of understanding and studying literature in an accessible format. The volume also brings together essays that represent major modern literary schools of thought, in-cluding structuralism, poststructuralism, myth criticism, queer theory, feminism, postcolonialism, (...) and deconstruction. This book will be of great interest to scholars and researchers of literary and critical theory, and culture studies. (shrink)

Compuesto por capítulos de diferentes especialistas en los estudios literarios que laboran en universidades de México, Europa y Estados Unidos, el libro Literatura aplicada en el siglo XXI: ideas y prácticas es el resultado de una invitación y de un esfuerzo para reflexionar sobre las posibilidades epistémicas del fenómeno literario como creación, recreación y programación. Parte de cuestionarse si el binomio clásico de estudiar/aprender ha perdido su sentido en la era de la tecnificación cibernética, es decir, de la inteligencia artificial (...) y de la paulatina robotización del mundo. Puesto que los algoritmos ya leen y escriben automáticamente, y son capaces de combinaciones y hasta de generar narrativas, nos pareció necesaria una mayor sensibilización de la palabra consciente. Una reflexión de la educación poética para diferenciarnos de las máquinas y también para entender su funcionamiento, así como reestablecer la reflexión o diálogo de los creadores con los críticos, y de los promotores de lectura con los teóricos de la lectura. Tal restablecimiento debería ser el desafío de los estudios literarios (universitariamente entendidos) en lo que resta del siglo XXI. De esta forma, los ensayos aquí reunidos hacen referencia a autores y obras del siglo XX y aun de otras centurias, pero con la intención de reflexionar sobre su aplicación en lo que va del presente siglo. (shrink)

The novels of David Foster Wallace, Dave Eggers and Jonathan Safran Foer are increasingly regarded as representing a new trend, an 'aesthetic sea change' in contemporary American fiction. 'Post-postmodernism' and 'New Sincerity' are just two of the labels that have been attached to this trend. But what do these labels mean? What characterizes and connects these novels? Dulk shows that the connection between these works lies in their shared philosophical dimension. On the one hand, they portray excessive self-reflection and (...) endless irony as the two main problems of contemporary Western life. On the other hand, the novels embody an attempt to overcome these problems: sincerity, reality-commitment and community are portrayed as the virtues needed to achieve a meaningful life. This shared philosophical dimension is analyzed by viewing the novels in light of the existentialist philosophies of Soren Kierkegaard, Jean-Paul Sartre, Ludwig Wittgenstein and Albert Camus. (shrink)

To the extensive literature on Aristotle's Ethics by scholars in the Anglo-American tradition, Engberg-Pedersen adds this major new interpretation of some of its most basic issues: the function of phronësis, the relation of phronësis to both moral virtue and theöria, the roles played by the different faculties of the soul in being an excellent human being, etc. Along the way he addresses problems at the root of all moral philosophy such as: the basic principle of morality, the best (...) life for a human being, and responsibility for action and moral character. It is a contemporary interpretation of Aristotle's Ethics which recalls the benefits of a careful study of him for understanding perennial ethical issues. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Hermeneutical Turn in American Critical Theory, 1830–1860M. D. WalhoutLong considered an obscure province of biblical studies, hermeneutics is now familiar territory to American literary critics, along with phenomenology, structuralism, post-structuralism, and the other European theories that have redrawn the map of American criticism in the past twenty-five years. The gradual transformation of hermeneutics into a theory of criticism, and ultimately into a comprehensive theory of (...) the human sciences, was the work of a series of great German thinkers, including Schleiermacher, Dilthey, Heidegger, and Gadamer. These figures were introduced (or reintroduced) to American critics by E. D. Hirsch, whose Validity in Interpretation (1967) “shattered,” in the words of Richard E. Palmer, “the splendid isolation of American literary criticism from hermeneutics.” Hailing Schleiermacher and Dilthey as the forefathers of “objective interpretation,” Hirsch dismissed Heidegger and Gadamer as prophets of subjectivism. For his part, Palmer strove to vindicate Heidegger and Gadamer as the true heirs of the hermeneutical tradition. Noting the difference between Hirsch’s understanding of hermeneutics and theirs, Palmer concluded,So the hermeneutical debate goes on. On the one side are the defenders of objectivity and validation, who look to hermeneutics as the theoretical source for norms of validation; on the other side are the phenomenologists of the event of understanding, who stress the historical character of this “event,” and consequently the limitations of all claims to “objective knowledge” and “validity.” 1Twenty-five years later this hermeneutical debate is still going on. [End Page 683]What Hirsch and Palmer did not realize is that they were reviving a debate over the nature of interpretation that dated from the late nineteenth century, when American literary criticism was undergoing professionalization. 2 As early as 1885, in the programmatic introduction to his book on Shakespeare as a dramatic artist, Richard G. Moulton had declared, “In the treatment of literature the proposition which seems to stand most in need of assertion at the present moment is, that there is an inductive science of literary criticism.” Moulton proceeded to lay down “a foundation axiom of inductive literary criticism: Interpretation in literature is of the nature of a scientific hypothesis, the truth of which is tested by the degree of completeness with which it explains the details of the literary work as they actually stand.” 3 Thirty years later Moulton repeated this axiom, insisting that “such inductive treatment constitutes the very alphabet of science.” 4 But Moulton’s determination to apply the logic of the natural sciences to the interpretation of literature was not without its critics. In 1900 the German-born philologist Julius Goebel began a valiant, if futile, effort to introduce the hermeneutics of Schleiermacher and Dilthey to his American colleagues. 5 Years later, in an article published in The Journal of English and Germanic Philology, Goebel drew on Schleiermacher’s Hermeneutik und Kritik (1838) to show “the possibility of attaining exact knowledge in the mental sciences without the aid of the scientific or laboratory methods.” 6 Later still, in an article on Dilthey published in the same journal, Goebel recalled how he had argued in an address to the Modern Language Association that criticism “had lost touch with the contemporary movements emphasizing the independence and importance of the mental sciences. What seemed to me needed above all was a reform of the method of interpretation for which Dilthey had set the example both in principle and practice.” 7 It was not until the late 1960s that Goebel’s project was finally revived.While Goebel may have been the first American literary scholar to use the word “hermeneutics,” the concept of interpretation had long been a part of American critical theory. In fact, what might be called the “hermeneutical turn” in American critical theory occurred well before the era of professionalization. [End Page 684] In order to trace this turn, we must recover the work of the amateur critical theorists of the antebellum era, including such forgotten figures as George Allen and Edwin Percy Whipple. Disciples of the Schlegels and Coleridge, these amateur theorists established the basic premises of the hermeneutical turn: that criticism is a science; that the critic must “reproduce” the author’s creative process; that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fear of Formalism: Kant, Twain, and Cultural Studies in American LiteratureElizabeth Maddock Dillon (bio)I begin with what we might call a bipolar disturbance in literary criticism. Caught between the materialism of cultural studies and the formalism of philosophy, literary criticism is construed, on the one hand, as useless—struck dumb by its lack of purpose in the face of real politics and real bodies—and, on the other hand, as (...) singularly efficacious, the only tool through which to reveal the essentially discursive character of all forms of culture, including bodies and politics. While this rhetorical model of criticism is regularly posited as politically bankrupt, as having no purchase on the facticity of the world, the model of materialist cultural criticism is just as regularly unmasked as, at base, rhetorically constructed and thus guilty of concealing its own formalist dimensions. 1 This “disturbance,” as I’ve described it, tends to be acted out as a debilitating dialectic: caught between formalism and materialism, literary criticism is left without any ground to stand on. Yet this peculiar bipolarity within literary criticism is intimately linked to the strange status of literature itself. Language becomes recognizably literary at the moment it assumes a rhetorical or formal dimension rather than serving as the invisible conduit of mimetic representation. 2 Whence, evidently, the allure of formalism for literary criticism: form would seem to be exactly what demarcates the literary from the nonliterary, what defines the exclusive territory of literature. Yet formalism, as has been widely and persuasively argued, tends to turn literature into precisely the kind of artifact that means little in relation to the world and tends to obscure the worldly relations that inform the text and its production. Indeed, in the field of Cultural Studies—a field whose defining gesture is political engagement—“formalist” is a term whose meaning often comes to approximate “apolitical.” “Formalist,” fashioned as opprobium, speaks chidingly of hermeticism or more acerbically of the insidious erasures enacted by universalism.In contemporary criticism, formalism has thus come to occupy an important antipodal position which encompasses far more than the New Critical practices of the 1940s and ‘50s. In emphasizing the formal, intrinsic qualities of the literary work, New [End Page 46] Critics closeted the text away from the world and from the possibility of social action: their agenda has thus been construed as politically quietist and inherently conservative. 3 Yet the term “formalism,” used as a charge of conservatism, has been applied more broadly to poststructuralist criticism as well. Paul Lauter, for instance, uses the term “formalist” to describe deconstruction as an avatar of New Criticism: both emphasize textual relations to the exclusion of extratextual considerations. Poststructuralism, Lauter and others have argued, continues an aestheticization of literature which turns literary criticism over to an elitist and ultimately irrelevant “priesthood.” ‘“Formalist,’” writes Lauter, “suggests that the whole enterprise of literary theorizing subsists behind dense academic walls, where de Man speaks only to Heidegger, and Heidegger speaks only to God” [138]. While Lauter bases his analogy between poststructuralism and New Criticism on the charge of hermeticism as well as a lack of historical engagement, the notion of “form” as it appears in poststructuralism is nonetheless significantly different than the “form” that animated New Critical endeavors. Where New Critical “form” concerns specifically literary structures—irony, metaphor, tension, unity—the poststructural referent for these rhetorical terms is often the “form” of language or subjectivity itself. Accordingly, the meaning of “form” (and, indeed, “formalism”) undergoes a marked shift from specific rhetorical articulations to larger theoretical claims about language and identity.This second, broader articulation of form has been critiqued less for hermeticism or quietism than for its implied universalism—that is, for fashioning subjects and discursive forces in uniform shapes without regard for political and historical specificity. Stuart Hall, for example, whilst defining the practice of Cultural Studies, warns against theories of the subject (in this case psychoanalysis) that tend toward universalism: “The manner in which this ‘subject’ of culture is conceptualized is of a trans-historical and ‘universal’ character: it addresses the subject-in-general, not an historically-determinate social subject, or socially determinate particular language” [Hall 70]. On this reading, formalist theories of poststructuralism... (shrink)

This is a broad interdisciplinary and comparative study of the ways in which we discursively 'make' the world and its things. The author goes beyond the 'poetic thinking' of Heidegger toward a more pragmatic way of interpreting concrete social, cultural, and political experience. The author outlines three constitutive functions of world-making. Endowing signifies the direct provision of the 'wherewithal' that must come into being if anything else is to come into being. Enabling develops or facilitates what is endowed. Entitling embraces (...) the realm of justice and decision; it concerns what it is right for human beings to have and do and be. Placing these functions in contemporary contexts, the book offers as an alternative some perspectives of American pragmatism and continental philosophy. The book closely examines the thinking of Hobbes, Descartes, Vico, Calderón, and Jefferson and several literary figures and thinkers. (shrink)

Introduction. Toward a hermeneutics of skepticism -- Montaignean meditations -- Ideology, critique, and the event of literature -- Irony, power, and the death drive -- Queering difference, or the feminine logic of the "non-all" -- Immunizing ontology : the speculative turn -- Conclusion. Desire of the theorist.

Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and ...

This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and (...) sometimes extended discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities. (shrink)

Engagements with Contemporary Literary and Critical Theory is a wide-ranging but accessible introduction that illuminates the field of theory through a variety of useful and relevant examples. Covering all key theories and theorists, this book looks at the relation of theory to form, discourses, subjectivity, media and networks, and environments. Organized thematically, Engagements with Contemporary Literary and Critical Theory illuminates the field by focusing on the concepts and methodologies of key thinkers, while also providing historical introductions that contextualize the latest (...) developments with regard to forms; discourses; subjectivities and embodiments; media, networks, and machines; and animals, affects, objects, and environments. Each chapter includes examples from a canonical novel, a contemporary text, and a new media artefact, while textboxes regularly introduce additional emerging or overlooked theorists of interest. An ideal guide for undergraduates studying literary theory, this book will give readers the background they need to continue their own fruitful explorations of this vibrant field of study. (shrink)

Emotion -- History -- Universals and particulars -- Depth -- Beholding.

Human beings are strange animals. Although evolutionary theory has brilliantly accounted for the features we share with other creatures—from the genetic code that directs the construction of our bodies to the details of how our muscles and neurons work—we still stand out in countless ways. Our brains are exceptionally large, we alone have truly grammatical language, and we alone compose symphonies, drive cars, eat spaghetti with a fork and wonder about the origins of the universe.

"What is at stake in this book is nothing less than a dramatically new way of approaching literature, one which in its unostentatious, low key way scandalously smashes a whole range of liberal humanist icons." --Terry Eagleton Who is more important: the reader, or the writer? Originally published in French in 1966, Pierre Macherey's first and most famous work, A Theory of Literary Production dared to challenge perceived wisdom, and quickly established him as a pivotal figure in literary theory. (...) In this provocative work, Macherey puts the focus as much on the reader as the writer, stating that the very act of reading is a form of production in its own right, generating interpretation and meanings which are beyond the control of the author. Part of the birth of a whole new branch of post-structuralist theory, Macherey's work also influenced a new generation of critics among them Jacques Derrida, his contemporary, and Terry Eagleton. His ideas have also led some observers to claim that he announced the death of the author fully two years before Roland Barthes' famous essay. The reissue of this work as a Routledge Classic brings some radical ideas to a new audience, and argues persuasively for a totally new way of reading. As such, it is an essential work for anyone interested in the development of literary theory. (shrink)

This book explores concepts of rationality drawn from philosophy and the social sciences, in relation to traditions of literary enquiry. The author surveys basic assumptions and questions in philosophical accounts of action, in decision theory, and in the theory of rational choice. He gives examples ranging from Icelandic sagas to Poe and Beckett, and examines some situations and actions drawn from American and European fiction in order to analyze issues raised by contemporary models of agency. Challenging poststructuralism's irrationalist images (...) of science, this innovative study crosses the boundary between literary and philosophical studies in a bold interdisciplinary spirit. (shrink)

Richard Harland provides a lucid account of all the major movements in literary theory up to the late 1960s. In a lucid and accessible style, he unfolds a comprehensive "story" of literary theory in all its manifestations. Because contemporary literary theory depends heavily upon European thinkers, the book has an international focus, and its coverage extends from philosophers to social theorists to linguists. Harland explains the essential principles of each theoretical position, looking behind particular critical judgments and interpretations in order (...) to convey a core grasp of underlying positions. (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)

Literatures of Madness: Disability Studies and Mental Health brings together scholars working in disability studies, mad studies, feminist theory, Indigenous studies, postcolonial theory, Jewish literature, queer studies, American studies, trauma studies, and comics to create an intersectional community of scholarship in literary disability studies of mental health. The collection contains essays on canonical authors and lesser known and sometimes forgotten writers, including Sylvia Plath, Louisa May Alcott, Hannah Weiner, Mary Jane Ward, Michelle Cliff, Lee Maracle, Joanne Greenberg, Ann (...) Bannon, Jerry Pinto, Persimmon Blackridge, and others. The volume addresses the under-representation of madness and psychiatric disability in the field of disability studies, which traditionally focuses on physical disability, and explores the controversies and the common ground among disability studies, anti-psychiatric discourses, mad studies, graphic medicine, and health/medical humanities. (shrink)