| |
| |
| |
| Basic Ingredients and Useful Terms | |
| |
| |
| |
| It's Just a Theory | |
| |
| |
| You Can't Help It | |
| |
| |
| So Which Is It, Theory or Criticism? | |
| |
| |
| Getting Some Perspective | |
| |
| |
| Suspicious Minds | |
| |
| |
| Do Writers Know All This Stuff? | |
| |
| |
| Stick to the Script | |
| |
| |
| Real Worlds and Real Words | |
| |
| |
| |
| What's the Word for That, Again? | |
| |
| |
| Two Sides of the Coin | |
| |
| |
| Theme | |
| |
| |
| Form | |
| |
| |
| Order, Please | |
| |
| |
| Plot | |
| |
| |
| Motif | |
| |
| |
| Who Are These People? | |
| |
| |
| Narrators | |
| |
| |
| Characterization | |
| |
| |
| Writers Love Details | |
| |
| |
| Imagery | |
| |
| |
| Figurative Language | |
| |
| |
| |
| In Theory, How Do You Read? | |
| |
| |
| |
| New Criticism Looks Very Closely | |
| |
| |
| Everything Fits Together | |
| |
| |
| Buy Organic | |
| |
| |
| Can't I Just Read? | |
| |
| |
| In Other Words, There Are No Other Words | |
| |
| |
| Reading Closely for What? | |
| |
| |
| There's a Pattern Here | |
| |
| |
| No, You're Not Reading Too Much Into It | |
| |
| |
| Ironic, Isn't It? | |
| |
| |
| What's Wrong with "Old" Criticism? | |
| |
| |
| Feelings, Nothing More Than Feelings | |
| |
| |
| Did the Author Really Mean That? | |
| |
| |
| Everyone's a Critic | |
| |
| |
| Who Begs to Differ? | |
| |
| |
| |
| Russian Formalism Fixates on the Machinery | |
| |
| |
| Look At the Text, Not Through It | |
| |
| |
| Not Content with Form and Content | |
| |
| |
| A Scientific Basis for Literary Study | |
| |
| |
| Why Did They Do This? | |
| |
| |
| It's What Art Really Is | |
| |
| |
| Habit Dulls Our Perception | |
| |
| |
| Make the Ordinary Strange | |
| |
| |
| Make the Artistry Obvious | |
| |
| |
| Revealing the Tricks | |
| |
| |
| Plot vs. Story-Stuff | |
| |
| |
| Literary History Is the Interplay of Form | |
| |
| |
| |
| Reader-Response Criticism Watches Itself | |
| |
| |
| In the Eye of the Beholder | |
| |
| |
| Making It Up as You Go Along | |
| |
| |
| Show Your Work | |
| |
| |
| Draw a Blank | |
| |
| |
| Crack the Code | |
| |
| |
| Making You Up as It Goes Along | |
| |
| |
| "You" Are There | |
| |
| |
| Group Dynamics | |
| |
| |
| Getting Real | |
| |
| |
| Regaining Consciousness | |
| |
| |
| |
| Aristotle and Friends Plot the Course | |
| |
| |
| Reading for Fun and (Intellectual) Profit | |
| |
| |
| Delightful Instruction | |
| |
| |
| Get It Out of Your System, or Not | |
| |
| |
| Mime in a Box | |
| |
| |
| Plot Changes Everything | |
| |
| |
| The Rules of the Game | |
| |
| |
| One Ring to Rule Them All | |
| |
| |
| They're Just Guidelines, Really | |
| |
| |
| |
| What Is Literature, Anyway? | |
| |
| |
| |
| Plato's Fundamental Gripe Against Literature | |
| |
| |
| What's the Big Idea Here? | |
| |
| |
| Me and My Shadows | |
| |
| |
| A True Original | |
| |
| |
| Cheat Sheets | |
| |
| |
| Writers Blocked | |
| |
| |
| Bad Influence | |
| |
| |
| Madness and Magnets | |
| |
| |
| Famous Platonic Relationships | |
| |
| |
| |
| The Romantics Get Defensive | |
| |
| |
| Plato II: Revenge of the Poets | |
| |
| |
| A Sincere Apology | |
| |
| |
| It's Just My Nature | |
| |
| |
| Wordsworth's Emotional Rescue | |
| |
| |
| Coleridge's Fevered Imagination | |
| |
| |
| Keats and Beautiful Truthiness | |
| |
| |
| Shelley Gets Played Like a Harp | |
| |
| |
| |
| Marx Sees Through the Material World | |
| |
| |
| Immersed in the System | |
| |
| |
| Alma Mater-ialism | |
| |
| |
| Let's Simplify Things | |
| |
| |
| Living the Dream | |
| |
| |
| Wake Up and Smell the Ideology | |
| |
| |
| Get Real | |
| |
| |
| Shocking Audiences Worldwide | |
| |
| |
| Return of the Repressed | |
| |
| |
| |
| Freud Sees a Symptom | |
| |
| |
| Thinking Big | |
| |
| |
| What Do You Have in Mind? | |
| |
| |
| Dream Weaving | |
| |
| |
| Literature on the Couch | |
| |
| |
| Must Be About Sex | |
| |
| |
| Unless It's About Death | |
| |
| |
| |
| Saussure and Science Settle Into a Good Read | |
| |
| |
| Must Be a Sign | |
| |
| |
| Adding Some Structure | |
| |
| |
| Just a Slice, Please | |
| |
| |
| It's Your Move | |
| |
| |
| Stop in for Great Values | |
| |
| |
| Everybody Gets in On the Act | |
| |
| |
| It's All in Your Head | |
| |
| |
| |
| Hey, Whose Book Is This? | |
| |
| |
| |
| Feminist Theories Change the Game | |
| |
| |
| Is This Pedestal High Enough for You? | |
| |
| |
| Particularly Universal | |
| |
| |
| It's Only Natural, Isn't It? | |
| |
| |
| Girl, That Rochester Is Bad News | |
| |
| |
| Diving Into the Stereotypists' Pool | |
| |
| |
| Writing Circles Around You | |
| |
| |
| Evolving Phases | |
| |
| |
| Body Works | |
| |
| |
| What Do You Mean, "We"? | |
| |
| |
| |
| Gender and Queer Theories Read Desire | |
| |
| |
| Tending Gender | |
| |
| |
| Typecasting Sexuality | |
| |
| |
| Pride Fest | |
| |
| |
| Beyond Stonewall | |
| |
| |
| Lesbian Revisions | |
| |
| |
| It's Showtime! | |
| |
| |
| Beyond Gay and Straight | |
| |
| |
| |
| Ethnic Studies Changes the Key | |
| |
| |
| Are You What You Read? | |
| |
| |
| National Sensations | |
| |
| |
| Please Check One of the Boxes | |
| |
| |
| American Autograph | |
| |
| |
| Write Makes Might | |
| |
| |
| Modern Subjects | |
| |
| |
| Theory Turns | |
| |
| |
| Reading Like a Writer | |
| |
| |
| Well, That Figures | |
| |
| |
| Borders and Belongings | |
| |
| |
| |
| Disability Studies Gets Physical | |
| |
| |
| Social Ills | |
| |
| |
| Marked Bodies | |
| |
| |
| Stormin' Normin' | |
| |
| |
| Posing Gender | |
| |
| |
| Book It | |
| |
| |
| Learn on Me | |
| |
| |
| I See What You Mean | |
| |
| |
| Thinking Otherwise | |
| |
| |
| Aud, Isn't It? | |
| |
| |
| |
| Try to Watch Your Language | |
| |
| |
| |
| Structuralism Senses a Pattern Here | |
| |
| |
| Patterns and Rules | |
| |
| |
| Not What It Means, but How Does It Mean? | |
| |
| |
| Oh That Old Chestnut (or, Why So Grimm?) | |
| |
| |
| Working the Story | |
| |
| |
| Logical Tools | |
| |
| |
| Jung at Art (or, Swingin' a Myth) | |
| |
| |
| It's the Economy | |
| |
| |
| Does This Tie Match My Signifying System? | |
| |
| |
| Great Expectations | |
| |
| |
| So You Say | |
| |
| |
| |
| Deconstruction Says It's Not What You Think | |
| |
| |
| Philosophy's Low Opinion of Language | |
| |
| |
| Truth First | |
| |
| |
| With Writing in Mind | |
| |
| |
| Bye-Bye Binary | |
| |
| |
| Texting from Work | |
| |
| |
| Living in the Material Word | |
| |
| |
| |
| Psychology Brings Linguistics to the Couch | |
| |
| |
| Post-Structuralist Mind | |
| |
| |
| Mirror, Mirror, Then the Wall | |
| |
| |
| Subjects of Significance | |
| |
| |
| Getting Saussure Stuck in Your Head | |
| |
| |
| Chain Letters | |
| |
| |
| Taking Your Place | |
| |
| |
| Baby Talk (Or, a Womb with a View) | |
| |
| |
| Who's Pulling the Strings? | |
| |
| |
| |
| In the World and Of the World | |
| |
| |
| |
| Cultural Studies Tries to Ruin a Good Time | |
| |
| |
| High Fives for High Culture | |
| |
| |
| The Culture Industry | |
| |
| |
| Enlighten Me-No, Don't | |
| |
| |
| New Forms for New Minds | |
| |
| |
| Making Copies | |
| |
| |
| Material Feelings | |
| |
| |
| Freaky Styley | |
| |
| |
| Who Are Your References? | |
| |
| |
| What Just Happened? | |
| |
| |
| The Pastiche Prologue | |
| |
| |
| Wait, Let Me Finish | |
| |
| |
| |
| History Gets Literary | |
| |
| |
| New and Improved | |
| |
| |
| Plotting Along in the Past | |
| |
| |
| There's Culture in My Poetry! | |
| |
| |
| Making the Connections | |
| |
| |
| Knowing Looks | |
| |
| |
| Doesn't Know When to Quit | |
| |
| |
| Russian Legacy | |
| |
| |
| I Hear Voices | |
| |
| |
| Step Into My Parlor | |
| |
| |
| |
| Postcolonial Criticism Flaunts the Fashions | |
| |
| |
| Reading Between the Lands | |
| |
| |
| Us and Them | |
| |
| |
| Return to Thornfield | |
| |
| |
| Look at It This Way | |
| |
| |
| Other Others | |
| |
| |
| Choosing Your Words Carefully | |
| |
| |
| Are You Lookin' at Me? | |
| |
| |
| |
| Ecocriticism Offers a Word from Our Sponsor | |
| |
| |
| Hit the Ground Running | |
| |
| |
| It's Writing, Naturally | |
| |
| |
| Portrait of the Land as a Young Woman | |
| |
| |
| Varieties of Ecocritical Experience | |
| |
| |
| Seeing But Not Scene | |
| |
| |
| Collective Energies | |
| |
| |
| Glossary | |
| |
| |
| Index | |