It engages directly with the difficulty many students find intimidating, asking 'What is ''Literary Theory''?' and offering a clear, concise, accessible guide to the major theories and theorists, including: humanism; structuralism; poststructuralism; psychoanalytic approaches; feminist approaches; queer theory; ideology and discourse; new historicism; race and postcolonialism; postmodernism. The final chapter points to new directions in literary and cultural theory.

    Colonialism/Postcolonialism is a comprehensive yet accessible guide to the historical and theoretical dimensions of colonial and postcolonial studies.Ania Loomba deftly introduces and examines:key features of the ideologies and history of colonialismthe relationship of colonial discourse to literaturechallenges to colonialism, including anticolonial discoursesrecent developments in postcolonial theories and historiesissues of sexuality and colonialism, and the intersection of feminist and postcolonial thoughtdebates about globalization and postcolonialismRecommended on courses across the academic disciplines and around the world, Colonialism/Postcolonialism has for some years been accepted as the essential introduction to a vibrant and politically charged area of literary and cultural study.With new coverage of emerging debates around globalization, this second edition will continue to serve as the ideal guide for students new to colonial discourse theory, postcolonial studies or postcolonial theory as well as a reference for advanced students and teachers.

    While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age.Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman."Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems.Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.

    Sidney argues with wit and irony that poetry is the art which best teaches what is good and true.

    He enthused a generation of writers and readers and was an influential supporter of the young T.S Eliot. Principles of Literary Criticism was the text that first was the text that first established his reputation and pioneered the movement that became known as the 'New Criticism' Through a powerful presentation of the need to read critically and creatively, with an alertness to the psychological and emotional effects of language, Richards presented a powerful new understanding both of literature and of the role of the reader. Highly controversial when first published, Principles of Literary Criticism remains a work which no one with a serious interest in literature can afford to ignore. Contents: The chaos of criticism theories | The phantom aesthetic state | The language of criticism | Communication and the artist | The critics' concern with value | Value as an ultimate idea | A psychological theory of value | Art and morals | Actual and possible misapprehensions | Poetry for poetry's sake | A sketch for a psychology | Pleasure | Emotion and the coenesthesia | Memory | Attitudes | The analysis of a poem | Rhythm and metre | On looking at a picture | Sculpture and the construction of form | The Impasse of musical theory | A theory of communication | The availability of the poet's experience | Tolstoy's infection theory | The normality of the artist | Badness in poetry | Judgement and divergent readings | Levels of response and the width of appeal | The allusiveness of modern poetry | Permanence as a criterion | The Definition of a poem | Art, play and civilization | The Imagination

    His far-reaching claims about language and truth provoked a vigorous critique by Jacques Derrida, whose essay in turn has spawned further responses from Barbara Johnson, Jane Gallop, Irene Harvey, Norman Holland, and others.

    We have a postmodern architecture, a postmodern dance, perhaps even a postmodern philosophy and a postmodern condition. But do we have a postmodern fiction?In this trenchant and lively study Brian McHale undertakes to construct a version of postmodernist fiction which encompasses forms as wide-ranging as North American metafiction, Latin American magic realism, the French New New Novel, concrete prose and science fiction. Considering a variety of theoretical approaches including those of Ingarden, Eco, Doležel, Pavel, and Hrushovski, McHale shows that the common denominator is postmodernist fictin’s ability to thrust its own ontological status into the foreground and to raise questions about the world (or worlds) in which we live. Far from being, as unsympathetic critics have sometimes complained, about nothing but itself — or even about nothing at all — postmodernist fiction in McHale’s construction of it proves to be about (among other things) those handy literary perennials, Love and Death.

    Iser examines what happens during the reading process, and how it is basic to the development of a theory of aesthetic response, setting in motion a chain of events that depends both on the text and the exercise of certain human faculties.

    Gay plays on Broadway, big book awards to authors writing on gay subjects, Hollywood movies with gay themes, gay and lesbian studies at dozens of universities, openly gay columnists and even editors at national mainstream publications, political leaders speaking in favor of gay rights: it seems that straight America has finally begun to listen to homosexual America.Still, Bersani notes, not only has homophobia grown more virulent, but many gay men and lesbians themselves are reluctant to be identified as homosexuals. In Homos, he studies the historical, political, and philosophical grounds for the current distrust, within the gay community, of self-identifying moves, for the paradoxical desire to be invisibly visible. While acknowledging the dangers of any kind of group identification (if you can be singled out, you can be disciplined), Bersani argues for a bolder presentation of what it means to be gay. In their justifiable suspicion of labels, gay men and lesbians have nearly disappeared into their own sophisticated awareness of how they have been socially constructed. By downplaying their sexuality, gays risk self-immolation--they will melt into the stifling culture they had wanted to contest.In his chapters on contemporary queer theory, on Foucault and psychoanalysis, on the politics of sadomasochism, and on the image of "the gay outlaw" in works by Gide, Proust, and Genet, Bersani raises the exciting possibility that same-sex desire by its very nature can disrupt oppressive social orders. His spectacular theory of "homo-ness" will be of interest to straights as well as gays, for it designates a mode of connecting to the world embodied in, but not reducible to, a sexual preference. The gay identity Bersani advocates is more of a force--as such, rather cool to the modest goal of social tolerance for diverse lifestyles--which can lead to a massive redefining of sociality itself, and of what we might expect from human communities.

    In a preface, written for this edition, Rose considers some of Peter Pan's new guises and their implications. From Spielberg's Hook, to the lesbian production of the play at the London Drill Hall in 1991, to debates in the English House of Lords, to a newly claimed status as the icon of transvestite culture, Peter Pan continues to demonstrate its bizarre renewability as a cultural fetish of our times.

    The study of travel writing has, however, tended to remain either naively celebratory, or dismissive, treating texts as symptoms of imperial ideologies.Imperial Eyes explores European travel and exploration writing, in conjunction with European economic and political expansion since 1700. It is both a study in the genre and a critique of an ideology. Pratt examines how travel books by Europeans create the domestic subject of European imperialism, and how they engage metropolitan reading publics with expansionist enterprises whose material benefits accrued mainly to the very few. These questions are addressed through readings of travel accounts connected with particular sentimental historical travel writing. It examines the links with abolitionist rhetoric; discursive reinventions of South America during the period of its independence (1800-1840); and 18th-century European writings on Southern Africa in the context of inland expansion.

    This imaginary Europe, Dipesh Chakrabarty argues, is built into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. Provincializing Europe proposes that every case of transition to capitalism is a case of translation as well--a translation of existing worlds and their thought--categories into the categories and self-understandings of capitalist modernity. Now featuring a new preface in which Chakrabarty responds to his critics, this book globalizes European thought by exploring how it may be renewed both for and from the margins.

    A book about our growing alienation from nature, it is also a brilliant meditation on the capacity of the writer to bring us back to earth, our home.In the first ecological reading of English literature, Jonathan Bate traces the distinctions among nature, culture, and environment and shows how their meanings have changed since their appearance in the literature of the eighteenth century. An intricate interweaving of climatic, topographical, and political elements poetically deployed, his book ranges from greenhouses in Jane Austen's novels to fruit bats in the poetry of Les Murray, by way of Thomas Hardy's woodlands, Dr. Frankenstein's Creature, John Clare's birds' nests, Wordsworth's rivers, Byron's bear, and an early nineteenth-century novel about an orangutan who stands for Parliament. Though grounded in the English Romantic tradition, the book also explores American, Central European, and Caribbean poets and engages theoretically with Rousseau, Adorno, Bachelard, and especially Heidegger.The model for an innovative and sophisticated new ecopoetics, The Song of the Earth is at once an essential history of environmental consciousness and an impassioned argument for the necessity of literature in a time of ecological crisis.

    A critical summary of the emerging discipline of "ecocriticism". Written by one of the world's leading theorists in ecocriticism. Traces the history of the ecocritical movement from its roots in the 1970s through to its diversification and proliferation today. Takes account of different ecocritical positions and directions. Describes major tensions within ecocriticism and addresses major criticisms of the movement. Looks to the future of ecocriticism, proposing that discourses of the environment should become a permanent part of literary and cultural studies.

    + XXXVIII) ranges from Gorgias and Plato to Sigmund Freud and Mikhail Bakhtin. Each of the 147 contributions has a headnote introducing the writer and making connections to other critics, theorists and movements. An introduction surveys the history of theory and criticism.