By Widdowson / Brooker

A vintage creation to the ever-evolving box of contemporary literary idea, now in an accelerated and up-to-date edition.Considers 'New Aestheticism' and engages with the tips of 'Post-Theory' comprises wide courses to extra examining, net and digital assets to make sure the standard of scholars' study A thesaurus defines key theoretical and important phrases features a advisor to proper journals  

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Additional info for A Reader's Guide to Contemporary Literary Theory (5th Edition)

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Bears such a relation to that; this kind of thing – don’t you find it so? – wears better than that”’, for the essay ‘Literary Criticism and Philosophy’ see above p. 24), Leavisian criticism had no need of theory – could not in fact be theorized. Paradoxically, and for many years, that was its greatest strength. Selected reading Key texts Arnold, Matthew, Culture and Anarchy [1869], ed. J. Dover Wilson (Cambridge University Press, Cambridge [1932], 1971). Arnold, Matthew, Essays in Criticism, Second Series, 1888.

And extended descriptions are all devices to make us attend to the novel’s form. In a sense, ‘plot’, in this instance, is actually the violation of the expected formal arrangements of incidents. qxd 07/02/2005 14:43 Page 35 . RUSSIAN FORMALISM AND THE BAKHTIN SCHOOL arrangement, Sterne draws attention to plotting itself as a literary object. In this way, Shklovsky is not at all Aristotelian. In the end, a carefully ordered Aristotelian ‘plot’ should give us the essential and familiar truths of human life; it should be plausible and have a certain inevitability.

But there the resemblance ends, for the New Critics still basically insist that there is a determinate, ontologically stable ‘poem itself ’, which is the ultimate arbiter of its own ‘statement’, and that an ‘objective’ criticism is possible. This runs quite counter to deconstruction’s notion of the ‘iterability’ of a text in its multiplex ‘positioned’ rereadings. This difference becomes very much clearer in the second essay, which argues that the ‘affective fallacy’ represents ‘a confusion between the poem and its results’: ‘trying to derive the standard of criticism from the psychological effects of the poem .

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