Modern Literary Theory and Ancient Texts: An Introduction by Thomas A. Schmitz(auth.)
By Thomas A. Schmitz(auth.)
This booklet presents scholars and students of classical literature with a pragmatic advisor to fashionable literary idea and feedback. utilizing a transparent and concise procedure, it navigates readers via numerous theoretical techniques, together with Russian Formalism, structuralism, deconstruction, gender reviews, and New Historicism.
- Applies theoretical techniques to examples from historical literature
- Extensive bibliographies and index make it a precious source for students within the box
Content:
Chapter 1 Russian Formalism (pages 17–25):
Chapter 2 Structuralism (pages 26–42):
Chapter three Narratology (pages 43–62):
Chapter four Mikhail Bakhtin (pages 63–76):
Chapter five Intertextuality (pages 77–85):
Chapter 6 Reader?Response feedback (pages 86–97):
Chapter 7 Orality ? Literacy (pages 98–112):
Chapter eight Deconstruction (pages 113–139):
Chapter nine Michel Foucault and Discourse research (pages 140–158):
Chapter 10 New Historicism (pages 159–175):
Chapter eleven Feminist Approaches/Gender stories (pages 176–194):
Chapter 12 Psychoanalytic techniques (pages 195–204):
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Additional info for Modern Literary Theory and Ancient Texts: An Introduction
Example text
Todorov uses a structuralist methodology: for him, the fantastic is defined by its difference to the “uncanny” on the one hand and to the “marvelous” on the other. The term “fantastic” thus has a relational value and is defined by the other elements of the same system. The most systematic attempt to use structuralist analyses of literary genres for classical antiquity can be found in the work of the Italian Latinist Gian Biagio Conte (b. 1941; a convenient collection of English translations can be found in [59] and [61]).
Much rather, when we learn a language, we acquire a model which lets us form an infinite number of grammatically correct paroles; the American linguist Noam Chomsky (b. 3–10] (in contrast to the “performance,” the actual utterance). This model may be less obvious than a concrete speech act, yet it is clear that it exists in its own right. It is this system, then, that is the object of linguistic investigation, not the single parole. 16]. Later, we will see some examples of such extralinguistic systems.
Hence, the connection between sound-image and concept is arbitrary. However, within the linguistic system of the English language, the sound-image “key” can only signify a device for opening locks, and the connection between mental concept and sound-image cannot be broken – that is why this connection is considered necessary. The Meaning of Differences The next question we will ask, then, must be: in which way do signs produce meaning for the users of a given linguistic system? Saussure’s answer to this question is the foundation of one of the most important tenets of structuralism, so we will be very careful when thinking about its implications and consequences.