By Widdowson / Brooker
A vintage advent to the ever-evolving box of recent literary concept, now in an improved and up to date edition.Considers 'New Aestheticism' and engages with the tips of 'Post-Theory' includes wide courses to extra examining, net and digital assets to make sure the standard of scholars' examine A word list defines key theoretical and demanding phrases features a consultant to suitable journals
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Extra resources for A Reader's Guide to Contemporary Literary Theory (5th Edition)
Everything authoritative, rigid or serious is subverted, loosened and mocked. This essentially popular and libertarian social phenomenon has a formative influence on literature of various periods, but becomes especially dominant in the Renaissance. ‘Carnivalization’ is the term Bakhtin uses to describe the shaping effect of Carnival on literary genres. The earliest carnivalized literary forms are the Socratic dialogue and the Menippean satire. The former is in its origins close to the immediacy of oral dialogue, in which the discovery of truth is conceived as an unfolding exchange of views rather than as an authoritative monologue.
Crane, R. S. ), Critics and Criticism: Ancient and Modern (Chicago University Press, Chicago, 1952; abridged, with Crane’s Preface, 1957). Eliot, T. , Notes Towards the Definition of Culture (Faber, London, 1948). Eliot, T. , Selected Essays  (Faber, London, 1965). Empson, William, Seven Types of Ambiguity  (Penguin, Harmondsworth, 1961). Empson, William, Some Versions of Pastoral  (Penguin, Harmondsworth, 1966). Leavis, F. , New Bearings in English Poetry  (Penguin, Harmondsworth, 1963).
In the second essay, Schorer extends his analysis of the language of fiction by revealing the unconscious patterns of imagery and symbolism (way beyond the author’s ‘intention’) present in all forms of fiction and not just those which foreground a ‘poetic’ discourse. He shows how the author’s ‘meaning’, often contradicting the surface sense, is embedded in the matrix of linguistic analogues which constitute the text. In this we may see connections with later poststructuralist theories’ concern with the sub-texts, ‘silences’, ‘ruptures’, ‘raptures’ and ‘play’ inherent in all texts, however seemingly stable – although Schorer himself, as a good New Critic, does not deconstruct modern novels, but reiterates the coherence of their ‘technique’ in seeking to capture ‘the whole of the modern consciousness .