His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    Memories and dreams in turn conjure their magical counterparts—people without names or pasts, fantastic animals, half-animals, and talking machines that traverse the dark psychic underworld of this writer’s extraordinary fiction.Fervently acclaimed worldwide, Murakami’s wildly imaginative work in many ways remains a mystery, its worlds within worlds uncharted territory. Finally in this book readers will find a map to the strange realm that grounds virtually every aspect of Murakami’s writing. A journey through the enigmatic and baffling innermost mind, a metaphysical dimension where Murakami’s most bizarre scenes and characters lurk, The Forbidden Worlds of Haruki Murakami exposes the psychological and mythological underpinnings of this other world. Matthew Carl Strecher shows how these considerations color Murakami’s depictions of the individual and collective soul, which constantly shift between the tangible and intangible but in this literary landscape are undeniably real.Through these otherworldly depths The Forbidden Worlds of Haruki Murakami also charts the writer’s vivid “inner world,” whether unconscious or underworld (what some Japanese critics call achiragawa, or “over there”), and its connectivity to language. Strecher covers all of Murakami’s work—including his efforts as a literary journalist—and concludes with the first full-length close reading of the writer’s newest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage.

    This entrenched view continues to dominate western ideas and, because it does not allow the East to represent itself, prevents true understanding. Essential, and still eye-opening, Orientalism remains one of the most important books written about our divided world.

    A brilliant display of erudition, wit, and wisdom, his exploration of how great European writers from Homer to Virginia Woolf depicted reality has taught generations how to read Western literature. This new expanded edition includes a substantial essay in introduction by Edward Said as well as an essay, never before translated into English, in which Auerbach responds to his critics.A German Jew, Auerbach was forced out of his professorship at the University of Marburg in 1935. He left for Turkey, where he taught at the state university in Istanbul. There he wrote "Mimesis," publishing it in German after the end of the war. Displaced as he was, Auerbach produced a work of great erudition that contains no footnotes, basing his arguments instead on searching, illuminating readings of key passages from his primary texts. His aim was to show how from antiquity to the twentieth century literature progressed toward ever more naturalistic and democratic forms of representation. This essentially optimistic view of European history now appears as a defensive--and impassioned--response to the inhumanity he saw in the Third Reich. Ranging over works in Greek, Latin, Spanish, French, Italian, German, and English, Auerbach used his remarkable skills in philology and comparative literature to refute any narrow form of nationalism or chauvinism, in his own day and ours. For many readers, both inside and outside the academy, "Mimesis" is among the finest works of literary criticism ever written.

    But it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores:*the relation of simple to complex genres*the history of literary genre in theory*the generic organisation of implied meanings*the structuring of interpretation by genre*the uses of genre in teaching.John Frow’s lucid exploration of this fascinating concept will be essential reading for students of literary and cultural studies.

    An exploration of the ideas, groupings and the social tensions that shaped the transformation of life caused by the changes of modernity in art, science, politics and philosophy

    Foster applies his much-loved combination of wit, know-how, and analysis to explain how each work has shaped our very existence as readers, students, teachers, and Americans.Foster illuminates how books such as The Last of the Mohicans, Moby-Dick, My Ántonia, The Great Gatsby, The Maltese Falcon, Their Eyes Were Watching God, On the Road, The Crying of Lot 49, and others captured an American moment, how they influenced our perception of nationhood and citizenship, and what about them endures in the American character. Twenty-five Books That Shaped America is a fun and enriching guide to America through its literature.

    The first book to look broadly at the contemporary scope and purposes of world literature, What Is World Literature? probes the uses and abuses of world literature in a rapidly changing world.In case studies ranging from the Sumerians to the Aztecs and from medieval mysticism to postmodern metafiction, David Damrosch looks at the ways works change as they move from national to global contexts. Presenting world literature not as a canon of texts but as a mode of circulation and of reading, Damrosch argues that world literature is work that gains in translation. When it is effectively presented, a work of world literature moves into an elliptical space created between the source and receiving cultures, shaped by both but circumscribed by neither alone. Established classics and new discoveries alike participate in this mode of circulation, but they can be seriously mishandled in the process. From the rediscovered Epic of Gilgamesh in the nineteenth century to Rigoberta Mench�'s writing today, foreign works have often been distorted by the immediate needs of their own editors and translators.Eloquently written, argued largely by example, and replete with insightful close readings, this book is both an essay in definition and a series of cautionary tales.

    The strategies are identified by an examination of authentic examples of translated texts in a variety of languages. No knowledge of linguistics or foreign languages is assumed. Each chapter begins with an explanation of the key linguistic concepts referred to and ends with a series of practical exercises. By striking a balance between theory and practice, the book provides a sound basis for training professional translators.

    By tracing the historical progression of rhetoric from the Greek Sophists of the 5th Century B.C. to contemporary studies--such as the rhetoric of science and feminist rhetoric--this concise yet comprehensive text helps students better understand what rhetoric is and what unites differing rhetorical theories throughout history.

    In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.