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| Preface | |
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| Acknowledgments | |
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| Introductory Tools for Literary Analysis | |
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| Basics of Literary Study | |
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| Comprehension versus Interpretation | |
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| Common Critical Practices | |
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| Close Reading | |
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| Contextual Analysis | |
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| Application of a Critical Approach | |
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| Social Criticism | |
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| Literary Language | |
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| Multiple Meanings | |
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| Poetry and Plurisignation | |
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| Hermeneutics | |
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| Peshat and Derash | |
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| Medieval Hermeneutics: The Fourfold Method | |
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| Sympathetic Analogies | |
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| The Rise of Modern Literary Interpretation | |
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| Philosophical Hermeneutics | |
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| The Hermeneutic Circle | |
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| Major Twentieth-Century Schools of Critical Analysis | |
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| Traditional and New Historicisms | |
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| New Criticism | |
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| Marxism | |
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| Structuralism | |
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| Phenomenological Literary Analysis | |
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| Psychoanalytic Criticism | |
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| Reader Response Criticism | |
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| Post-Structuralism | |
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| Sodo-Political Analyses | |
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| Feminism | |
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| Social Constructivism: Berger and Luckmann versus Michel Foucault | |
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| Race Studies, Gay and Lesbian Studies, and Ethnic Studies | |
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| Cultural, Global, and Post-Colonial Studies | |
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| Tools for Reading Narrative | |
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| Story and Plot: Fabula and Syuzhet | |
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| Order | |
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| Analepsis and Prolepsis | |
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| Mimesis and Diegesis | |
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| Free Indirect Discourse | |
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| Interior Monologue | |
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| Diachronic and Synchronic | |
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| Intertextuality | |
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| Dialogism | |
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| Chronotope | |
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| Character Zone | |
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| Focalization | |
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| Narrative Codes | |
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| Tools for Reading Poetry | |
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| Tropes | |
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| Elision | |
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| Resemblance | |
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| Juxtaposition | |
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| Analogy | |
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| Allegory | |
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| Emulation | |
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| Imitation | |
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| Objective Correlative | |
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| Language Poetry | |
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| The New Sentence | |
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| Sound Poetry/Concrete Poetry | |
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| Prosody | |
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| Tools for Reading Performance | |
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| Performance Studies | |
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| Realist Theatre: Total Acting | |
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| Konstantin Stanislavski | |
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| Lee Strasberg (The Method), David Mamet (Practical Aesthetics), Mary Overlie (The Six Viewpoints Approach) | |
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| Epic Theatre | |
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| Theatre of Cruelty | |
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| Actions | |
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| Play | |
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| Happenings | |
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| Performance Art | |
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| Guerrilla Theatre | |
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| Tools for Reading Texts as Systems | |
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| Aristotle and Form | |
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| The Literary Work as Object of Rational Empiricism | |
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| Saussurean Linguistics | |
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| L�vi-Strauss and Structuralism | |
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| Roman Jakobson's Communication Model | |
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| Roland Barthes' Hierarchical Structures | |
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| Functions | |
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| Actions | |
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| Narration | |
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| Ideality and Phenomenology of the Literary Object: Husserl and Derrida | |
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| Dissemination | |
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| Structure as Rhizome: Deleuze and Guattari | |
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| Permutation | |
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| Undecidability: Derrida, G�del, Lacan | |
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| Simulating Systems: Jean Baudrillard | |
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| Counterfeiting | |
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| Production | |
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| Simulation | |
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| Multiplicity: Badiou | |
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| Tools for Social Analysis | |
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| The Public Sphere | |
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| Habermas and the Frankfurt School | |
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| The Public Sphere versus Hegemony: Laclau and Mouffe | |
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| Ideology | |
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| Political Ideology | |
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| Top-down Ideology | |
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| Ideology as Class Consciousness | |
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| Ideology as False Consciousness | |
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| Ideology as Semiotic Representation | |
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| Ideology as Social Interpellation | |
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| Theories of Power | |
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| Might Makes Right versus the Good Shepherd | |
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| Master/Slave Dialectics and the Recognition of Power: Hegel, Koj�ve, Sartre, Lacan | |
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| Behaviorism: Stick and Carrot | |
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| Capillary Power | |
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| The Social Relation | |
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| Primitive Social Relations | |
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| Plato's Republic and Aristotle's Politics | |
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| From Divine Right to Social Contract | |
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| Marx on The Social Relation | |
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| Alterity: The Relation of Non-relation | |
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| Index | |