The “affective turn” is by now long established, part of a wider surge of interest in emotion playing out in a range of disciplines. In literary studies, the conversation about how affect theory might help us to interpret literature is still emerging. The goal of the present discussion is to provide a critical overview of work by scholars who draw on the insights of recent theory to read literary texts written in English. At the same time (...) that the discussion offers an appraisal of the current state of scholarship, it also seeks to identify emerging new directions in research. (shrink)

This essay first contextualizes Adorno's essays in literary criticism in relation to his historico‐philosophical account of modern rationalization and late capitalism, his dialectical theory of culture, and his return to postwar Germany. It then presents the neo‐Marxist and formalist principles that inform his literary criticism, emphasizing the artwork's critical relationship to society, on the one hand, and the theory of aesthetic experience undergone by the artwork's recipient on the other. These principles are exemplified in (...) selective readings of Adorno's essays on Heinrich Heine and Friedrich Hölderlin. The essay concludes by polemically juxtaposing Adorno's practice of literary criticism with that of neo‐Aristotelian “ethical criticism.”. (shrink)

In this doctoral dissertation for the Free University at Amsterdam, the author presents Croce's early aesthetic works in the light of his life and of his general philosophical development. He concludes his "academic test" with some critical observations.--R. D. G.

criticism defend the idea that an individual reader's understanding of a text can be a factor in determining the meaning of what is written in that text, and hence must play a part in determining the very identity conditions of works of literary art. We examine some accounts that have been given of the type of readerly ‘competence’ that a reader must have in order for her responses to a text to play this sort of constitutive role. We (...) argue that the analogy drawn by Stanley Fish and Jonathan Culler between literary and linguistic competence is philosophically flawed and explanatorily unfruitful, and that a better way of understanding the notion of literary competence can be constructed by appeal to some limitation results in formal logic and computability theory. (shrink)

No reasonably attentive reader of the majorjournals in literary criticism and theory will be unaware of the current interest in something called "history," whether under the specific rubric of a "new historicism" or as part of a commitment to the development of polemical and political applications, in the present, of scholarly research done about the past.

This anthology, part of a three-volume series devoted to German aesthetic and literary criticism from the eighteenth and nineteenth centuries, charts the development of aesthetic and literary theory in Germany in the latter half of the eighteenth century and its emancipation from the hitherto dominant influence of France. This development helped to produce an unprecedented flowering of German culture and art which culminated in the classicism of Goethe and Schiller and in the rise of the Romantic (...) movement, with momentous consequences for Europe as a whole. The texts gathered together here represent the main theoretical phases in this process. Their unifying theme is classicism and the author examines the theories of Winckelman, Lessing, Herder, Schiller and Hamann. The volume concludes with Goethe's essay on Winckelmann, which is both a reaffirmation of neo-classical principles and a definitive statement of the mature Goethe's own aesthetic theory. (shrink)

Structuralism as well as other methods of literary criticism, take positions analogous to ones espoused in some philosophies of science. Examples are: regarding a discipline as self-contained, having no necessary connection with the external world; taking interpretation (or the postulating of theories) as an arbitrary process, valid if it makes sense of the data, thus avoiding questions of truth; diminishing individuality by overemphasizing the learned aspects of a discipline (reading as governed by assimilated rules, research as controlled by (...) shared goals and methods and implicit agreement on fundamental questions). Interdisciplinary exchange should lead to greater awareness both of difficulties of these positions and of proposed solutions to the difficulties they raise. (shrink)

The question posed by this text is: can we use Levinasian ethics in the field of literary studies? In order to provide the answer, Levinas?s attitude toward art will need to be analyzed. His work contains numerous scattered remarks about literature and other arts, but the most explicit statement on the relationship between art and ethics can be found in his essay?Reality and Its Shadow?. Since Levinas?s view on art in this essay is predominantly negative, it poses a significant (...) problem for the application of his theory in the field of literary studies. In order to overcome this difficulty, I use Blanchot?s reworking of Levinasian ethics, and open the possibility of a different relation between literature and ethics than the one originally suggested by Levinas. (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)

Although Kierkegaard's writings have not exerted an essential influence on canonical trends in literary criticism and theory, his work has supplied subtle and important inspiration for numerous eminent literary critics and theorists. Kierkegaard's influence transcends many polemics in literary theory—a claim justified by the fact that literary critics who draw significant examples and authority from Kierkegaard support varied and sometimes greatly conflicting philosophical and moral positions. This chapter argues that literary‐critical topics invested (...) in Kierkegaard's texts and ideas can be grouped loosely under three thematic banners: irony, repetition, and silence. These themes are often pursued with reference to Kierkegaard's On the Concept of Irony, Repetition, and Fear and Trembling, respectively. The chapter discusses key examples from each of the three common themes, and indicates some of the important exceptions to this typology. (shrink)

This thesis explores and describes the comic features of Samuel Beckett’s prose works. It explores fundamental questions about Beckett’s humour. On the one hand, it investigates the nature of humour, and, on the other, it investigates what counts as humour in Beckett. This twofold investigation requires ‘attuning’ philosophy and literary criticism, where questions and tools of each discipline mutually sharpen and refine each other. Chapter 1 evaluates philosophical accounts of humour and identifies Incongruity Theory as the (...) class='Hi'>theory offering the best account of humour. According to this theory, a necessary and not sufficient condition for comic amusement is the perception of an incongruity. Chapter 2 starts exploring what counts as humour in Beckett by examining where comic incongruities are located. By doing so, this chapter puts the Incongruity Theory to the test, and, evaluates the analytical tools ordinarily used in describing humour. This exploration uses Ruby Cohn’s seminal description of Beckett’s humour as a springboard. This chapter individuates a comic layer which Cohn’s description has overlooked – the ‘comic of language acts’. Chapter 3 analyses Beckett’s texts in order to describe the comic devices that depend on the performance of language acts. In order to do so, the discussion makes use of Austin’s Theory of Speech Acts. As a result, this chapter develops a set of tools able to capture ‘the comic of language acts’, a comic layer which crucially shapes Beckett’s writing. Chapter 4 demonstrates how to make use of the set of tools developed in Chapter 3 by examining three key works of Beckett – More Pricks than Kicks, Watt, and Molloy. This examination leads to the individuation of three movements at the level of illocutionary acts – ‘twists’, ‘convolutions’, and ‘oscillations’ – which are informative of Beckett’s writing and of the experience of reading these works. (shrink)

William Walker's original analysis of John Locke's An Essay Concerning Human Understanding offers a challenging and provocative assessment of Locke's importance as a thinker, bridging the gap between philosophical and literary-critical discussion of his work. He presents Locke as a foundational figure who defines the epistemological and ontological ground on which eighteenth-century and Romantic literature operate and eventually diverge. He is revealed as a crucial figure for emerging modernity, less the familiar empiricist innovator and more the proto-Nietzschean thinker whose (...) text fosters hitherto unsuspected instabilities and promotes a new kind of rhetorical force to counterbalance them. Walker's reading of Locke is at once finely attentive to the text and engagingly resourceful in placing the Essay in its broadest philosophical and historical context. (shrink)

This article examines interactivity using the concept of dialogic relationships introduced by Russian philosopher Mikhail Bakhtin and the concept of transtextuality, proposed by French literary theorist Gérard Genette. These concepts help to reveal two parallel strata of interactivity: the stratum of interactivity between the viewer and the message and the stratum of interactivity that exists inside the message and its surrounding. It concludes that interactivity can be conceived as a relation and that the message is a co-creation. The study (...) contributes to the theory of interactivity, which challenges the existing – and rather limited – advertising theories and offers an alternative Bakhtinian perspective on the phenomenon of interactivity. (shrink)

The study of literature from the point of view of the search for archetypal images and the study of artistic creativity from the standpoint of structuralism are two important trends. Both of these trends have emerged in the contexts of different scientific paradigms. The origin of archetypal criticism is associated with the figure of Herman Northrop Fry, and the basis of archetypal criticism is psychology, namely the concept of psychoanalysis, founded by Sigmund Freud and Carl Gustav Jung. While (...) the origin of structuralism is associated with linguistics and the name of Ferdinand de Saussure, who first began to consider language as a system of signs in which each element defines other elements and is itself determined by them. With all the difference in origin, in general, both theories do not contradict each other - on the contrary, they complement each other. Archetypal literary criticism and structuralist theory of art have deep internal theoretical connections in several ways: both theories look for repetitive elements in literature, both consider literature as a space of memory about the past. Archetypal literary criticism and the structuralist theory of art direct the appeal to the psychology of man as the creator of works of art. Both directions are also largely based on the idea of binary oppositions: within the framework of the archetypal criticism of the pair, many archetypes are grouped into pairs, whereas within the framework of structuralism, the idea of structure itself is based on elementary concepts opposed to each other; finally, both methods have been criticized for the same shortcomings, such as the denial of author subjectivity and the denial of human progress. This article attempts to show that the theory of archetypes in literature and the structuralist theory of art complement each other, and how exactly this complementarity is achieved. (shrink)

The issues that Foucault raises about reception and reading are certainly part of the contemporary discussion of literature. However, they are not the only issues with which we, as today’s readers, are concerned. Discussions about the role of the author persist and so we continue to have recourse to the notion of authorship.For instance, in her recent book Sexual / Textual Politics , the feminist critic Toril Moi feels called on to return to these twenty-year-old issues in French theory (...) to tell us what it has meant to speak of the author, when she says: “For the patriarchal critic, the author is the source, origin and meaning of the text. If we are to undo this patriarchal practice of authority, we must take one further step and proclaim with Roland Barthes the death of the author.”3In the course of this essay I wish to reopen the question of whether it is advisable to speak of the author, or of what Foucault calls “the author function,” when querying a text, and I wish to reopen it precisely at the site where feminist criticism and post-structuralism are presently engaged in dialogue. Here in particular we might expect that reasons for rejecting author erasure would appear. However, theoretically informed feminist critics have recently found themselves tempted to agree with Barthes, Foucault, and the Edward Said of Beginnings that the authorial presence is best set aside in order to liberate the text for multiple uses.4 4. See Edward W. Said, Beginnings: Intention and Method , p. 162. Cheryl Walker is professor of English and humanities at Scripps College. She is the author of The Nightingale’s Burden: Women Poets and American Culture before 1900 and Masks Outrageous and Austere: Culture, Psyche, and Persona in Modern Women Poets . She is currently editing an anthology of nineteenth-century women poets and a book of essays about feminist criticism in the wake of post-structuralism. (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)

Originally published in 1988, this book provides a comprehensive anthology in English of the major texts of German literary and aesthetic theory between Lessing ...

This volume is based to a large extent on the understanding of biosemiotic literary criticism as a semiotic-model-making enterprise. For Jurij Lotman and Thomas A. Sebeok, “nature writing is essentially a model of the relationship between humans and nature” ; biosemiotic literary criticism, itself a form of nature writing and thus itself an ecological-niche-making enterprise, will be considered to be a model of modeling, a model of nature naturing. Modes and models of analysis drawn from Thomas (...) A. Sebeok and Marcel Danesi’s Forms of Meaning: Modeling Systems Theory and Semiotic Analysis as well as from Timo Maran’s work on “modeling the environment in literature,” Edwina Taborsky’s writing on Peircean semiosis, and, of course, Jesper Hoffmeyer’s formative work in biosemiotics are among the most important organizing elements for this volume. (shrink)

Lukacs's post-1930 literary criticism reveals a problematic continuity with the theory of totality articulated in History and Class Consciousness (1923). No longer the self-knowledge of a militant proletariat, totality emerges as the contemplative vision of great bourgeois novelists. Shorn of its earlier messianic overtones, the later criticism promises a more labile political theory whose possibilities have already been explored by theorists such as liberation theologians and socialist feminists. This same change, however, coupled with Lukacs's failure (...) to confront its metatheoretical consequences, severs theory and practice and threatens to reduce revolutionary activity to a subjective and strident moralizing. (shrink)

Introduction: Fielding Derrida -- Jacques Derrida's early writings : alongside skepticism, phenomenology -- Analytic philosophy, and literary criticism -- Deconstruction as skepticism -- Derrida, Husserl, and the commentators : a developmental approach -- A transcendental sense of death : Derrida and the philosophy of language -- Literary theory's languages : the deconstruction of sense vs. the deconstruction of reference -- Jacques Derrida and the problem of philosophical and political modernity -- Jacob Klein and Jacques Derrida : (...) the problem of modernity -- Jacob Klein and Jacques Derrida : historicism and history in two interpretations of Husserl's late writings -- Derrida's contribution to phenomenology : a problem of no species -- Foretellese : futures of Derrida and Marx. (shrink)

By examining in particular Augustan notions of probability and the way they provided a framework for thinking about and organising experience, Dr Patey ...

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.

Contemporary literary theorists of the deconstructionist bent have often complained about a gulf between philosophy and literary criticism, and they have issued plaintive pleas to bring the two disciplines into closer contact, even if not into complete union. Thus Geoffrey Hartman in his famous deconstructionist manifesto complains: “The separation of philosophy from literary study has not worked to the benefit of either…. If there is the danger of a confusion of realms, it is a danger worth (...) experiencing.”. (shrink)

This chapter contains sections titled: Critical Theory's Attack on Biography The Attack from within Literary Criticism Distinguishing a Category of Relevant Biographical Information Biographical Information as an Aid to Understanding Biographical Information as an Aid to Appreciation Biographical Information as an Integral Part of Appreciation Conclusion.

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of Reality (...) -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

This excellent and accessible work includes many major texts in translation: Aristotle's Poetics, Longinus' On Sublimity, Horace's Art of Poetry, Tacitus' Dialogues, and extracts from Plato and Plutarch. Based on the highly praised Ancient Literary Criticism, it contains a new introduction and explanatory notes, and will be of enormous value to students both of Latin and Greek and of literary criticism and theory. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available (...) the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

"German--and particularly French--sources of the revolution that has occurred in literary theory during the past thirty years have long been recognized. The Russian contribution to these events has been hinted at previously, but Cassedy documents in detail the extraordinary work of Potebnya, Veselovskij, and other figures virtually unknown in the West.... An important contribution to intellectual history and literary theory."--Michael Holquist, author of Dostoevsky and the Novel "An astonishing number of complex movements and ideas--from Humboldt through (...) Russian and French Symbolists to Heidegger, Husserl, Roman Jakobson and the deconstructors, from symbology to logology and iconology--begin to fit together in this wide-ranging and provocative book.... Cassedy's book will outrage some readers, delight others, and enlighten all."--Caryl Emerson, author of Boris Godunov: Transpositions of a Russian Theme. (shrink)

Post-Theories in Literary and Cultural Studies brings to attention the post-theoretical discussions on the changing perceptions in literary and cultural studies. In four sections the volume presents essays that trace the engagement of post-theory with post-postmodernism, posthumanism, ethics, and politics.

Literary pneuma is a foundational idea in Chinese literary thought and the theory of literary pneuma one of the major aesthetic theories in Chinese literature and art. Since its first appearance, however, this aesthetic has remained an elusive concept despite its central importance. This article adopts an interdisciplinary approach to examine major statements of wenqi in Chinese thought in relation to similar ideas in modern philosophy, aesthetics, psychoanalysis, and literary criticism. It attempts to understand (...) its rationale, locate its conceptual groundings, and reconceptualize it into an aesthetic theory for our time. (shrink)

This collection presents a sort of counter-history or counter-genealogy of the globalization of French thought from the point of view of scholars working in the UK. While the dominating discourse would attribute the US as the source of that globalization, particularly through the 1966 conference on the Languages of Criticism and the Sciences of Man at Johns Hopkins University, this volume of essays serves as a reminder that the UK has also been a principal motor of that globalization. The (...) essays take into account how French thought and literary theory have institutionally taken shape in the UK from the 70s to today, highlight aspects of French thought that have been of particular pertinence or importance for scholars there, and outline how researchers in the UK today are bringing French thought further in terms of teaching and research in this twenty-first century. In short, this volume traces how the country has been behind the reception and development of French thought in Anglophone worlds from the late 70s to the present. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionEthics and Interdisciplinarity in Philosophy and Literary TheoryMark Sanders (bio)Two questions—the first calls for information, the second for justification. What points of contact, if any, are there between the current investment in ethics in literary theory, and the elaboration of ethics in contemporary philosophy? In other words, does an interdisciplinarity exist? Second, what reasons might literary theorists have, or have they had, to be aware (...) and take stock of developments in philosophical ethics? That is to say, what might be gained from interdisciplinary work? A third question emanates from the first two: where a cross-disciplinary engagement with philosophy has taken place, has there occurred any transformation of literary theory? I hope to show in what follows that, when we consider ethics in literary theory, no less than in philosophy, it is necessary to attend both to method within each discipline and to the nature of relations between them.The first of my questions begs the question of what contemporary philosophy is. Literary theorists entering into ethics have tended to draw on the work of Emmanuel Lévinas, Jacques Derrida, Michel Foucault, and Luce Irigaray, and more recently that of Giorgio Agamben and Alain Badiou. If the last has, in a spirit of polemic, professed to displace the "other" in the name of the "Same,"1 the dominant paradigm, when it [End Page 3] comes to ethics, remains one of alterity and difference. There are fundamental reasons why this should be the case: operating in figural language, literature, or the literary, differs from itself in response to an other. To borrow, translate, and adapt an Afrikaans term from the South African poet Breyten Breytenbach,2 literature engages in a process of andersmaak, of other-making or making-other: in making-other and, in so doing, inventing others, it makes itself other. Literature is an other-maker. It is to this activity that literary theory must attend. That is why it is natural for it to turn to ethics—not only the nexus Lévinas-Derrida and the other thinkers mentioned above, but also, for instance, to psychoanalysis: what may have begun as the teasing out of hidden meanings (the received idea is that this is what psychoanalysis and literary criticism share) has, following Lacan's "return to Freud," evolved into a consideration of the ethics of psychoanalysis in the context of reading and listening [see, for example, Felman and Laub].Literature may be an other-maker, and reading may be exemplary in the topoi of current theory for responsibility before the other,3 but it is not clear that literary theorists have been equal to setting this responsibility to work fully when it comes to responding to philosophy. There has been relatively little attention among literary theorists to developments in disciplinary philosophy—where, in recent decades, in North America and the Anglophone world generally, the tendency in ethics has been to bring moral reflection to bear on questions in political theory. The pólis in question is, however, no longer only the nation-state; the politics that engages political thought is transnational and global. Whether or not a given thinker subscribes to the idea of world citizenship, the horizon for thought is cosmopolitan.PhilosophyAlthough thinkers have continued to enter into basic questions in ethics,4 the writings of Charles Taylor, Will Kymlicka, Iris Young, Seyla Benhabib, and others attest to a shift from ethics to politics powerfully influenced by John Rawls (1921-2002)—notably in A Theory of Justice (1971) and Political Liberalism (1993)—and the ensuing criticisms of these works. As the weight of the North American debate has moved from liberal multiculturalism and minority rights [see Taylor et al.; Ackerman; Kymlicka; Young, Justice and the Politics of Difference] toward transnationality and globalization, Rawls's more recent critics have come to view his assumption of the nation-state as the basic context of analysis—even in The Law of Peoples (1999), which is devoted to international relations—as a limitation to his thinking of justice.5 These changes in emphasis are a clear sign of how the effects of globalization have begun to draw a response from political theorists.Links between ethics and political... (shrink)

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)

This volume forms part of the series of the Princeton Studies in Humanistic Scholarship in America, under the general editorship of Richard Schlatter. Uitti's exposition of theories of language and literature from ancient Greece to contemporary America is oriented toward the proposal for a coordination of studies of language and literature in a sort of modern trivium of grammar, rhetoric, and dialectic. In the first part of the book, the author concentrates on Platonic "symbolic" and Aristotelian "analytic" ideas about language, (...) and then traces these two currents throughout the Middle Ages, paying special attention to Priscian, Anselm, Abelard, Petrus Hispanus, Dante, and the grammatica speculativa. He then brings the survey up to modern times, examining Descartes, the Port-Royal grammar, Du Marsais, Diderot, and Rousseau. Condillac and Coleridge are treated in detail as representing two modern theories of expression/communication, the one analytic and linguistic, the other synthetic and aesthetic. The second part of this work deals with a history of both linguistics and of American literary criticism, stressing I. A. Richards' descriptivism, new critic theories of metaphor and irony, and Wellek and Warren's Theory of Literature. Uitti singles out Roman Jakobson as being most prophetic in outlining future cooperation of linguistics and literary theory, and in this light analyzes various papers in Style and Language, in particular C. F. Voegelin's and Michel Riffaterre's. This survey of the contemporary American scene points to the fact that ours is a sign-oriented culture, and that recent studies in linguistics and in literary criticism of the poetics type have been sharing the same philosophical assumptions. The author thinks that language and literature studies would function best in the future as disciplines united in the broad matrix of cultural process, and using linguistic categories. He thus shares an oft-expressed hope for a cumulative literary "science," in which individual studies are oriented toward the broader construct. This book is addressed to the nonspecialist, but the expert will profit from Uitti's generous style which opens up new vistas on every page.--C. M. R. (shrink)

The crucial point of Brill’s study is that of fit: which critical methods prove most useful towards opening up which texts? Close investigations into the parameters of the language games of texts, critics, and methods enable us to determine which paths to take towards more complete descriptive analyses and critique. Such an emphasis on the philosophical method of Ludwig Wittgenstein reorients literary criticism to involve a conjoint responsibility to both reader and text as the literary critic assumes (...) the humbler role of a guide who assists a reader in/to diverse literary texts. Wittgenstein’s philosophical approach provides us with a strong means of developing such a method for literary criticism—a method that points the way forward beyond postmodern criticisms and to a categorically new approach to literary texts. Brill’s work discusses at length the implications of Wittgenstein for literary criticism and theory. The volume specifically investigates the implications of Wittgenstein’s work for a number of contemporary critical orientations. In addition, the research includes actual applications of Wittgenstein for literary criticism: diverse literary texts are approached via a Wittgensteinian method as a means of discerning which critical approaches might be more or less efficacious. Not only does the book provide a solid introduction to Wittgensteinian philosophy for the critical scholars, but it also provides a clear methodology useful to critics seeking a means to navigate through the entanglement of contemporary criticism and theory. Brill argues that a reliance upon the philosophy of Ludwig Wittgenstein can enable literary critics to escape the seemingly endless dialectic between modern and postmodern theory. Instead of debating which theory is theoretically best, we need to describe when theories work—and when they do not. (shrink)