C ontents. General Introduction. Part I:. Form and Function. Marxist Approaches. Psychoanalytic Approaches. Part III:.
The Chicago School. Part II:. Booth , from The Rhetoric of Fiction. Part IV:. Part V:.
Part VI:. Week 4 Sept.
Hutcheon, Linda, A poetics of postmodernism: history, theory, fiction. Added to Your Shopping Cart. Intimate knowledge of and personal involvement in the commitment of literature to concrete political situations informs these succinct and spirited essays, along with Horn's measured familiarity with European traditions of political, cultural and ideological thought. Frickey, Pierrette M. Lawrence and the idea of the novel. Hammond, Brean S.
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The Novel: An Anthology of Criticism and Theory – is a collection of the most influential writings on the theory of the novel from the twentieth century. The Novel: An Anthology of Criticism and Theory – is a collection of the most influential writings on the theory of the novel from the.
Week 11 Nov. Week 12 Nov. Week 13 Nov. Thanksgiving Vacation. Week 14 Dec. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. These three anthologies suggest how little we still know about the global varieties of literary form. But in the process they demonstrate that novel theory has been and remains a placeholder for a critical injunction to think that totality. What more Bakhtinian form than the anthology — a gathering of voices and styles, each implicitly commenting on every other?
Each editor has more to say than any one of their contributors, and each emerges as a very particular voice — if not quite an omniscient narrator, then an engagingly opinionated guide. The refusal of these editors to keep quiet on the sidelines makes each of these collections into two books: both Theory of the Novel: A Historical Approach and The Novel: An Anthology of Criticism and Theory, — are at once very useful collections and sustained reflections on the tradition itself. His introductory essays are particularly good at isolating such broad conceptual rhymes between widely different thinkers, and they cumulatively make the case for the novel as in theory, at least the paradigmatic form of modernity.
But the larger agreement is most crucial for McKeon. His argument against such subdivision issues in a compellingly capacious definition of the epistemological function of realism. Those who do will encounter an extended essay that is itself intricately narrative in conception. Partisans of particular critics may balk at seeing their ideas incorporated into this impressively woven conceptual braid. But these names aside, these very long books have no overlap with one another.
Hillis Miller, and Eve Sedgwick. The collections pose intriguing questions to one another.
Such exclusions are of course inevitable. McKeon prompts such thoughts both through the scope of his selections — a scope that implicitly claims novel theory can be conducted far beyond the precincts of literary criticism — and through his own method, which proceeds by revealing the partialities of successive schools of thought. Her introductions arrive at such questions, to be sure, via a different route than McKeon.
She opens the volume by recounting that she asks her students to read theoretical texts as they would literary texts — as both paradigmatic and problematic, limpidly clear in some paragraphs and excruciatingly opaque in other passages, redundant about some issues and silent about others. Her insight into the narrative patterns of critical arguments and her intui- tion that theoretical claims are staked through imagery lead to many apt pronouncements.
As these examples suggest, Hale is particularly interested in uncovering the affective tonalities of different critical positions. The novel, this collection reminds us, is still the most likely way to pass the time on a long bus ride and the default way to mount a theory of narrative, or of language, or of modernity.
The referential lure is irresistible: are these portraits of the editor? Moretti is the most methodologically provocative voice in novel theory today. These heretical opinions have been delivered in prose of considerable charismatic authority.
You can almost hear the waves lapping the hull of the good ship MLA: Fantastic opportunity, this uncharted expanse of literature; with room for the most varied approaches, and for a truly collective effort, like literary history has never seen. Not diplomacy, not compromises, not winks at every powerful academic lobby, not taboos. Typically, he manages to disparage much of what literary critics currently do even as he pleads for us to join him in the effort to hunt down the real quarry are we really the team he seeks?
Does it instantiate some of the methodological changes Moretti has long been calling for? On the evidence of The Novel, very few have taken him up on the suggestion to consult other critics in lieu of performing first-hand analyses. And though he has disparaged analyses of individual texts, many of the most insightful and readable of the selections are just that — Ann Banfield making something new of Mrs.
But their authors are notably modest about what the charts and tables can tell us in the absence of actually reading some of the texts in question. The author of the piece on Japanese markets, Jonathan Zwicker, is given room elsewhere in the collection to incorporate his findings into an essay meditating on the cultural meanings of Japanese book formats and genre categories — and the essay is rewarding precisely because it presents its impressive statistical research in terms of longstanding questions about the ideology of form.
Readers accustomed to his manifestos will be surprised to find him so reticent on this point. Does satisfying the standard check-list of requirements make all of these different kinds of text nonetheless recognizably the same kind of thing?
A history that begins in the Hellenistic world and continues today. A geography that overlaps with the advent of world literature. A morphology that ranges euphorically from war stories, pornography, and melodrama, to syntactic labyrinths, metaphoric prose, and broken plot lines.