"Literary theory" is the body of ideas and methods we use in the practical reading of literature. By literary theory we refer not to the meaning of a work of literature but to the theories that reveal what literature can mean. Literary theory is a description of the underlying principles, one might say the tools, by which we attempt to understand literature. All literary interpretation draws on a basis in theory but can serve as a justification for very different kinds of critical activity. It is literary theory that formulates the relationship between author and work; literary theory develops the significance of race, class, and gender for literary study, both from the standpoint of the biography of the author and an analysis of their thematic presence within texts. Literary theory offers varying approaches for understanding the role of historical context in interpretation as well as the relevance of linguistic and unconscious elements of the text. Literary theorists trace the history and evolution of the different genres—narrative, dramatic, lyric—in addition to the more recent emergence of the novel and the short story, while also investigating the importance of formal elements of literary structure. Lastly, literary theory in recent years has sought to explain the degree to which the text is more the product of a culture than an individual author and in turn how those texts help to create the culture.
Table of Contents
- What Is Literary Theory?
- Traditional Literary Criticism
- Formalism and New Criticism
- Marxism and Critical Theory
- Structuralism and Poststructuralism
- New Historicism and Cultural Materialism
- Ethnic Studies and Postcolonial Criticism
- Gender Studies and Queer Theory
- Cultural Studies
- References and Further Reading
- General Works on Theory
- Literary and Cultural Theory
1. What Is Literary Theory?
"Literary theory," sometimes designated "critical theory," or "theory," and now undergoing a transformation into "cultural theory" within the discipline of literary studies, can be understood as the set of concepts and intellectual assumptions on which rests the work of explaining or interpreting literary texts. Literary theory refers to any principles derived from internal analysis of literary texts or from knowledge external to the text that can be applied in multiple interpretive situations. All critical practice regarding literature depends on an underlying structure of ideas in at least two ways: theory provides a rationale for what constitutes the subject matter of criticism—"the literary"—and the specific aims of critical practice—the act of interpretation itself. For example, to speak of the "unity" of Oedipus the King explicitly invokes Aristotle's theoretical statements on poetics. To argue, as does Chinua Achebe, that Joseph Conrad’s The Heart of Darkness fails to grant full humanity to the Africans it depicts is a perspective informed by a postcolonial literary theory that presupposes a history of exploitation and racism. Critics that explain the climactic drowning of Edna Pontellier in The Awakening as a suicide generally call upon a supporting architecture of feminist and gender theory. The structure of ideas that enables criticism of a literary work may or may not be acknowledged by the critic, and the status of literary theory within the academic discipline of literary studies continues to evolve.
Literary theory and the formal practice of literary interpretation runs a parallel but less well known course with the history of philosophy and is evident in the historical record at least as far back as Plato. The Cratylus contains a Plato's meditation on the relationship of words and the things to which they refer. Plato’s skepticism about signification, i.e., that words bear no etymological relationship to their meanings but are arbitrarily "imposed," becomes a central concern in the twentieth century to both "Structuralism" and "Poststructuralism." However, a persistent belief in "reference," the notion that words and images refer to an objective reality, has provided epistemological (that is, having to do with theories of knowledge) support for theories of literary representation throughout most of Western history. Until the nineteenth century, Art, in Shakespeare’s phrase, held "a mirror up to nature" and faithfully recorded an objectively real world independent of the observer.
Modern literary theory gradually emerges in Europe during the nineteenth century. In one of the earliest developments of literary theory, German "higher criticism" subjected biblical texts to a radical historicizing that broke with traditional scriptural interpretation. "Higher," or "source criticism," analyzed biblical tales in light of comparable narratives from other cultures, an approach that anticipated some of the method and spirit of twentieth century theory, particularly "Structuralism" and "New Historicism." In France, the eminent literary critic Charles AugustinSaint Beuve maintained that a work of literature could be explained entirely in terms of biography, while novelist Marcel Proust devoted his life to refuting Saint Beuve in a massive narrative in which he contended that the details of the life of the artist are utterly transformed in the work of art. (This dispute was taken up anew by the French theorist Roland Barthes in his famous declaration of the "Death of the Author." See "Structuralism" and "Poststructuralism.") Perhaps the greatest nineteenth century influence on literary theory came from the deep epistemological suspicion of Friedrich Nietzsche: that facts are not facts until they have been interpreted. Nietzsche's critique of knowledge has had a profound impact on literary studies and helped usher in an era of intense literary theorizing that has yet to pass.
Attention to the etymology of the term "theory," from the Greek "theoria," alerts us to the partial nature of theoretical approaches to literature. "Theoria" indicates a view or perspective of the Greek stage. This is precisely what literary theory offers, though specific theories often claim to present a complete system for understanding literature. The current state of theory is such that there are many overlapping areas of influence, and older schools of theory, though no longer enjoying their previous eminence, continue to exert an influence on the whole. The once widely-held conviction (an implicit theory) that literature is a repository of all that is meaningful and ennobling in the human experience, a view championed by the Leavis School in Britain, may no longer be acknowledged by name but remains an essential justification for the current structure of American universities and liberal arts curricula. The moment of "Deconstruction" may have passed, but its emphasis on the indeterminacy of signs (that we are unable to establish exclusively what a word means when used in a given situation) and thus of texts, remains significant. Many critics may not embrace the label "feminist," but the premise that gender is a social construct, one of theoretical feminisms distinguishing insights, is now axiomatic in a number of theoretical perspectives.
While literary theory has always implied or directly expressed a conception of the world outside the text, in the twentieth century three movements—"Marxist theory" of the Frankfurt School, "Feminism," and "Postmodernism"—have opened the field of literary studies into a broader area of inquiry. Marxist approaches to literature require an understanding of the primary economic and social bases of culture since Marxist aesthetic theory sees the work of art as a product, directly or indirectly, of the base structure of society. Feminist thought and practice analyzes the production of literature and literary representation within the framework that includes all social and cultural formations as they pertain to the role of women in history. Postmodern thought consists of both aesthetic and epistemological strands. Postmodernism in art has included a move toward non-referential, non-linear, abstract forms; a heightened degree of self-referentiality; and the collapse of categories and conventions that had traditionally governed art. Postmodern thought has led to the serious questioning of the so-called metanarratives of history, science, philosophy, and economic and sexual reproduction. Under postmodernity, all knowledge comes to be seen as "constructed" within historical self-contained systems of understanding. Marxist, feminist, and postmodern thought have brought about the incorporation of all human discourses (that is, interlocking fields of language and knowledge) as a subject matter for analysis by the literary theorist. Using the various poststructuralist and postmodern theories that often draw on disciplines other than the literary—linguistic, anthropological, psychoanalytic, and philosophical—for their primary insights, literary theory has become an interdisciplinary body of cultural theory. Taking as its premise that human societies and knowledge consist of texts in one form or another, cultural theory (for better or worse) is now applied to the varieties of texts, ambitiously undertaking to become the preeminent model of inquiry into the human condition.
Literary theory is a site of theories: some theories, like "Queer Theory," are "in;" other literary theories, like "Deconstruction," are "out" but continue to exert an influence on the field. "Traditional literary criticism," "New Criticism," and "Structuralism" are alike in that they held to the view that the study of literature has an objective body of knowledge under its scrutiny. The other schools of literary theory, to varying degrees, embrace a postmodern view of language and reality that calls into serious question the objective referent of literary studies. The following categories are certainly not exhaustive, nor are they mutually exclusive, but they represent the major trends in literary theory of this century.
2. Traditional Literary Criticism
Academic literary criticism prior to the rise of "New Criticism" in the United States tended to practice traditional literary history: tracking influence, establishing the canon of major writers in the literary periods, and clarifying historical context and allusions within the text. Literary biography was and still is an important interpretive method in and out of the academy; versions of moral criticism, not unlike the Leavis School in Britain, and aesthetic (e.g. genre studies) criticism were also generally influential literary practices. Perhaps the key unifying feature of traditional literary criticism was the consensus within the academy as to the both the literary canon (that is, the books all educated persons should read) and the aims and purposes of literature. What literature was, and why we read literature, and what we read, were questions that subsequent movements in literary theory were to raise.
3. Formalism and New Criticism
"Formalism" is, as the name implies, an interpretive approach that emphasizes literary form and the study of literary devices within the text. The work of the Formalists had a general impact on later developments in "Structuralism" and other theories of narrative. "Formalism," like "Structuralism," sought to place the study of literature on a scientific basis through objective analysis of the motifs, devices, techniques, and other "functions" that comprise the literary work. The Formalists placed great importance on the literariness of texts, those qualities that distinguished the literary from other kinds of writing. Neither author nor context was essential for the Formalists; it was the narrative that spoke, the "hero-function," for example, that had meaning. Form was the content. A plot device or narrative strategy was examined for how it functioned and compared to how it had functioned in other literary works. Of the Russian Formalist critics, Roman Jakobson and Viktor Shklovsky are probably the most well known.
The Formalist adage that the purpose of literature was "to make the stones stonier" nicely expresses their notion of literariness. "Formalism" is perhaps best known is Shklovsky's concept of "defamiliarization." The routine of ordinary experience, Shklovsky contended, rendered invisible the uniqueness and particularity of the objects of existence. Literary language, partly by calling attention to itself as language, estranged the reader from the familiar and made fresh the experience of daily life.
The "New Criticism," so designated as to indicate a break with traditional methods, was a product of the American university in the 1930s and 40s. "New Criticism" stressed close reading of the text itself, much like the French pedagogical precept "explication du texte." As a strategy of reading, "New Criticism" viewed the work of literature as an aesthetic object independent of historical context and as a unified whole that reflected the unified sensibility of the artist. T.S. Eliot, though not explicitly associated with the movement, expressed a similar critical-aesthetic philosophy in his essays on John Donne and the metaphysical poets, writers who Eliot believed experienced a complete integration of thought and feeling. New Critics like Cleanth Brooks, John Crowe Ransom, Robert Penn Warren and W.K. Wimsatt placed a similar focus on the metaphysical poets and poetry in general, a genre well suited to New Critical practice. "New Criticism" aimed at bringing a greater intellectual rigor to literary studies, confining itself to careful scrutiny of the text alone and the formal structures of paradox, ambiguity, irony, and metaphor, among others. "New Criticism" was fired by the conviction that their readings of poetry would yield a humanizing influence on readers and thus counter the alienating tendencies of modern, industrial life. "New Criticism" in this regard bears an affinity to the Southern Agrarian movement whose manifesto, I'll Take My Stand, contained essays by two New Critics, Ransom and Warren. Perhaps the enduring legacy of "New Criticism" can be found in the college classroom, in which the verbal texture of the poem on the page remains a primary object of literary study.
4. Marxism and Critical Theory
Marxist literary theories tend to focus on the representation of class conflict as well as the reinforcement of class distinctions through the medium of literature. Marxist theorists use traditional techniques of literary analysis but subordinate aesthetic concerns to the final social and political meanings of literature. Marxist theorist often champion authors sympathetic to the working classes and authors whose work challenges economic equalities found in capitalist societies. In keeping with the totalizing spirit of Marxism, literary theories arising from the Marxist paradigm have not only sought new ways of understanding the relationship between economic production and literature, but all cultural production as well. Marxist analyses of society and history have had a profound effect on literary theory and practical criticism, most notably in the development of "New Historicism" and "Cultural Materialism."
The Hungarian theorist Georg Lukacs contributed to an understanding of the relationship between historical materialism and literary form, in particular with realism and the historical novel. Walter Benjamin broke new ground in his work in his study of aesthetics and the reproduction of the work of art. The Frankfurt School of philosophers, including most notably Max Horkheimer, Theodor Adorno, and Herbert Marcuse—after their emigration to the United States—played a key role in introducing Marxist assessments of culture into the mainstream of American academic life. These thinkers became associated with what is known as "Critical theory," one of the constituent components of which was a critique of the instrumental use of reason in advanced capitalist culture. "Critical theory" held to a distinction between the high cultural heritage of Europe and the mass culture produced by capitalist societies as an instrument of domination. "Critical theory" sees in the structure of mass cultural forms—jazz, Hollywood film, advertising—a replication of the structure of the factory and the workplace. Creativity and cultural production in advanced capitalist societies were always already co-opted by the entertainment needs of an economic system that requires sensory stimulation and recognizable cliché and suppressed the tendency for sustained deliberation.
The major Marxist influences on literary theory since the Frankfurt School have been Raymond Williams and Terry Eagleton in Great Britain and Frank Lentricchia and Fredric Jameson in the United States. Williams is associated with the New Left political movement in Great Britain and the development of "Cultural Materialism" and the Cultural Studies Movement, originating in the 1960s at Birmingham University's Center for Contemporary Cultural Studies. Eagleton is known both as a Marxist theorist and as a popularizer of theory by means of his widely read overview, Literary Theory. Lentricchia likewise became influential through his account of trends in theory, After the New Criticism. Jameson is a more diverse theorist, known both for his impact on Marxist theories of culture and for his position as one of the leading figures in theoretical postmodernism. Jameson’s work on consumer culture, architecture, film, literature and other areas, typifies the collapse of disciplinary boundaries taking place in the realm of Marxist and postmodern cultural theory. Jameson’s work investigates the way the structural features of late capitalism—particularly the transformation of all culture into commodity form—are now deeply embedded in all of our ways of communicating.
5. Structuralism and Poststructuralism
Like the "New Criticism," "Structuralism" sought to bring to literary studies a set of objective criteria for analysis and a new intellectual rigor. "Structuralism" can be viewed as an extension of "Formalism" in that that both "Structuralism" and "Formalism" devoted their attention to matters of literary form (i.e. structure) rather than social or historical content; and that both bodies of thought were intended to put the study of literature on a scientific, objective basis. "Structuralism" relied initially on the ideas of the Swiss linguist, Ferdinand de Saussure. Like Plato, Saussure regarded the signifier (words, marks, symbols) as arbitrary and unrelated to the concept, the signified, to which it referred. Within the way a particular society uses language and signs, meaning was constituted by a system of "differences" between units of the language. Particular meanings were of less interest than the underlying structures of signification that made meaning itself possible, often expressed as an emphasis on "langue" rather than "parole." "Structuralism" was to be a metalanguage, a language about languages, used to decode actual languages, or systems of signification. The work of the "Formalist" Roman Jakobson contributed to "Structuralist" thought, and the more prominent Structuralists included Claude Levi-Strauss in anthropology, Tzvetan Todorov, A.J. Greimas, Gerard Genette, and Barthes.
The philosopher Roland Barthes proved to be a key figure on the divide between "Structuralism" and "Poststructuralism." "Poststructuralism" is less unified as a theoretical movement than its precursor; indeed, the work of its advocates known by the term "Deconstruction" calls into question the possibility of the coherence of discourse, or the capacity for language to communicate. "Deconstruction," Semiotic theory (a study of signs with close connections to "Structuralism," "Reader response theory" in America ("Reception theory" in Europe), and "Gender theory" informed by the psychoanalysts Jacques Lacan and Julia Kristeva are areas of inquiry that can be located under the banner of "Poststructuralism." If signifier and signified are both cultural concepts, as they are in "Poststructuralism," reference to an empirically certifiable reality is no longer guaranteed by language. "Deconstruction" argues that this loss of reference causes an endless deferral of meaning, a system of differences between units of language that has no resting place or final signifier that would enable the other signifiers to hold their meaning. The most important theorist of "Deconstruction," Jacques Derrida, has asserted, "There is no getting outside text," indicating a kind of free play of signification in which no fixed, stable meaning is possible. "Poststructuralism" in America was originally identified with a group of Yale academics, the Yale School of "Deconstruction:" J. Hillis Miller, Geoffrey Hartmann, and Paul de Man. Other tendencies in the moment after "Deconstruction" that share some of the intellectual tendencies of "Poststructuralism" would included the "Reader response" theories of Stanley Fish, Jane Tompkins, and Wolfgang Iser.
Lacanian psychoanalysis, an updating of the work of Sigmund Freud, extends "Postructuralism" to the human subject with further consequences for literary theory. According to Lacan, the fixed, stable self is a Romantic fiction; like the text in "Deconstruction," the self is a decentered mass of traces left by our encounter with signs, visual symbols, language, etc. For Lacan, the self is constituted by language, a language that is never one's own, always another’s, always already in use. Barthes applies these currents of thought in his famous declaration of the "death" of the Author: "writing is the destruction of every voice, of every point of origin" while also applying a similar "Poststructuralist" view to the Reader: "the reader is without history, biography, psychology; he is simply that someone who holds together in a single field all the traces by which the written text is constituted."
Michel Foucault is another philosopher, like Barthes, whose ideas inform much of poststructuralist literary theory. Foucault played a critical role in the development of the postmodern perspective that knowledge is constructed in concrete historical situations in the form of discourse; knowledge is not communicated by discourse but is discourse itself, can only be encountered textually. Following Nietzsche, Foucault performs what he calls "genealogies," attempts at deconstructing the unacknowledged operation of power and knowledge to reveal the ideologies that make domination of one group by another seem "natural." Foucaldian investigations of discourse and power were to provide much of the intellectual impetus for a new way of looking at history and doing textual studies that came to be known as the "New Historicism."
6. New Historicism and Cultural Materialism
"New Historicism," a term coined by Stephen Greenblatt, designates a body of theoretical and interpretive practices that began largely with the study of early modern literature in the United States. "New Historicism" in America had been somewhat anticipated by the theorists of "Cultural Materialism" in Britain, which, in the words of their leading advocate, Raymond Williams describes "the analysis of all forms of signification, including quite centrally writing, within the actual means and conditions of their production." Both "New Historicism" and "Cultural Materialism" seek to understand literary texts historically and reject the formalizing influence of previous literary studies, including "New Criticism," "Structuralism" and "Deconstruction," all of which in varying ways privilege the literary text and place only secondary emphasis on historical and social context. According to "New Historicism," the circulation of literary and non-literary texts produces relations of social power within a culture. New Historicist thought differs from traditional historicism in literary studies in several crucial ways. Rejecting traditional historicism's premise of neutral inquiry, "New Historicism" accepts the necessity of making historical value judgments. According to "New Historicism," we can only know the textual history of the past because it is "embedded," a key term, in the textuality of the present and its concerns. Text and context are less clearly distinct in New Historicist practice. Traditional separations of literary and non-literary texts, "great" literature and popular literature, are also fundamentally challenged. For the "New Historicist," all acts of expression are embedded in the material conditions of a culture. Texts are examined with an eye for how they reveal the economic and social realities, especially as they produce ideology and represent power or subversion. Like much of the emergent European social history of the 1980s, "New Historicism" takes particular interest in representations of marginal/marginalized groups and non-normative behaviors—witchcraft, cross-dressing, peasant revolts, and exorcisms—as exemplary of the need for power to represent subversive alternatives, the Other, to legitimize itself.
Louis Montrose, another major innovator and exponent of "New Historicism," describes a fundamental axiom of the movement as an intellectual belief in "the textuality of history and the historicity of texts." "New Historicism" draws on the work of Levi-Strauss, in particular his notion of culture as a "self-regulating system." The Foucaldian premise that power is ubiquitous and cannot be equated with state or economic power and Gramsci's conception of "hegemony," i.e., that domination is often achieved through culturally-orchestrated consent rather than force, are critical underpinnings to the "New Historicist" perspective. The translation of the work of Mikhail Bakhtin on carnival coincided with the rise of the "New Historicism" and "Cultural Materialism" and left a legacy in work of other theorists of influence like Peter Stallybrass and Jonathan Dollimore. In its period of ascendancy during the 1980s, "New Historicism" drew criticism from the political left for its depiction of counter-cultural expression as always co-opted by the dominant discourses. Equally, "New Historicism’s" lack of emphasis on "literariness" and formal literary concerns brought disdain from traditional literary scholars. However, "New Historicism" continues to exercise a major influence in the humanities and in the extended conception of literary studies.
7. Ethnic Studies and Postcolonial Criticism
"Ethnic Studies," sometimes referred to as "Minority Studies," has an obvious historical relationship with "Postcolonial Criticism" in that Euro-American imperialism and colonization in the last four centuries, whether external (empire) or internal (slavery) has been directed at recognizable ethnic groups: African and African-American, Chinese, the subaltern peoples of India, Irish, Latino, Native American, and Philipino, among others. "Ethnic Studies" concerns itself generally with art and literature produced by identifiable ethnic groups either marginalized or in a subordinate position to a dominant culture. "Postcolonial Criticism" investigates the relationships between colonizers and colonized in the period post-colonization. Though the two fields are increasingly finding points of intersection—the work of bell hooks, for example—and are both activist intellectual enterprises, "Ethnic Studies and "Postcolonial Criticism" have significant differences in their history and ideas.
"Ethnic Studies" has had a considerable impact on literary studies in the United States and Britain. In W.E.B. Dubois, we find an early attempt to theorize the position of African-Americans within dominant white culture through his concept of "double consciousness," a dual identity including both "American" and "Negro." Dubois and theorists after him seek an understanding of how that double experience both creates identity and reveals itself in culture. Afro-Caribbean and African writers—Aime Cesaire, Frantz Fanon, Chinua Achebe—have made significant early contributions to the theory and practice of ethnic criticism that explores the traditions, sometimes suppressed or underground, of ethnic literary activity while providing a critique of representations of ethnic identity as found within the majority culture. Ethnic and minority literary theory emphasizes the relationship of cultural identity to individual identity in historical circumstances of overt racial oppression. More recently, scholars and writers such as Henry Louis Gates, Toni Morrison, and Kwame Anthony Appiah have brought attention to the problems inherent in applying theoretical models derived from Euro-centric paradigms (that is, structures of thought) to minority works of literature while at the same time exploring new interpretive strategies for understanding the vernacular (common speech) traditions of racial groups that have been historically marginalized by dominant cultures.
Though not the first writer to explore the historical condition of postcolonialism, the Palestinian literary theorist Edward Said's book Orientalism is generally regarded as having inaugurated the field of explicitly "Postcolonial Criticism" in the West. Said argues that the concept of "the Orient" was produced by the "imaginative geography" of Western scholarship and has been instrumental in the colonization and domination of non-Western societies. "Postcolonial" theory reverses the historical center/margin direction of cultural inquiry: critiques of the metropolis and capital now emanate from the former colonies. Moreover, theorists like Homi K. Bhabha have questioned the binary thought that produces the dichotomies—center/margin, white/black, and colonizer/colonized—by which colonial practices are justified. The work of Gayatri C. Spivak has focused attention on the question of who speaks for the colonial "Other" and the relation of the ownership of discourse and representation to the development of the postcolonial subjectivity. Like feminist and ethnic theory, "Postcolonial Criticism" pursues not merely the inclusion of the marginalized literature of colonial peoples into the dominant canon and discourse. "Postcolonial Criticism" offers a fundamental critique of the ideology of colonial domination and at the same time seeks to undo the "imaginative geography" of Orientalist thought that produced conceptual as well as economic divides between West and East, civilized and uncivilized, First and Third Worlds. In this respect, "Postcolonial Criticism" is activist and adversarial in its basic aims. Postcolonial theory has brought fresh perspectives to the role of colonial peoples—their wealth, labor, and culture—in the development of modern European nation states. While "Postcolonial Criticism" emerged in the historical moment following the collapse of the modern colonial empires, the increasing globalization of culture, including the neo-colonialism of multinational capitalism, suggests a continued relevance for this field of inquiry.
8. Gender Studies and Queer Theory
Gender theory came to the forefront of the theoretical scene first as feminist theory but has subsequently come to include the investigation of all gender and sexual categories and identities. Feminist gender theory followed slightly behind the reemergence of political feminism in the United States and Western Europe during the 1960s. Political feminism of the so-called "second wave" had as its emphasis practical concerns with the rights of women in contemporary societies, women's identity, and the representation of women in media and culture. These causes converged with early literary feminist practice, characterized by Elaine Showalter as "gynocriticism," which emphasized the study and canonical inclusion of works by female authors as well as the depiction of women in male-authored canonical texts.
Feminist gender theory is postmodern in that it challenges the paradigms and intellectual premises of western thought, but also takes an activist stance by proposing frequent interventions and alternative epistemological positions meant to change the social order. In the context of postmodernism, gender theorists, led by the work of Judith Butler, initially viewed the category of "gender" as a human construct enacted by a vast repetition of social performance. The biological distinction between man and woman eventually came under the same scrutiny by theorists who reached a similar conclusion: the sexual categories are products of culture and as such help create social reality rather than simply reflect it. Gender theory achieved a wide readership and acquired much its initial theoretical rigor through the work of a group of French feminist theorists that included Simone de Beauvoir, Luce Irigaray, Helene Cixous, and Julia Kristeva, who while Bulgarian rather than French, made her mark writing in French. French feminist thought is based on the assumption that the Western philosophical tradition represses the experience of women in the structure of its ideas. As an important consequence of this systematic intellectual repression and exclusion, women's lives and bodies in historical societies are subject to repression as well. In the creative/critical work of Cixous, we find the history of Western thought depicted as binary oppositions: "speech/writing; Nature/Art, Nature/History, Nature/Mind, Passion/Action." For Cixous, and for Irigaray as well, these binaries are less a function of any objective reality they describe than the male-dominated discourse of the Western tradition that produced them. Their work beyond the descriptive stage becomes an intervention in the history of theoretical discourse, an attempt to alter the existing categories and systems of thought that found Western rationality. French feminism, and perhaps all feminism after Beauvoir, has been in conversation with the psychoanalytic revision of Freud in the work of Jacques Lacan. Kristeva’s work draws heavily on Lacan. Two concepts from Kristeva—the "semiotic" and "abjection"—have had a significant influence on literary theory. Kristeva’s "semiotic" refers to the gaps, silences, spaces, and bodily presence within the language/symbol system of a culture in which there might be a space for a women’s language, different in kind as it would be from male-dominated discourse.
Masculine gender theory as a separate enterprise has focused largely on social, literary, and historical accounts of the construction of male gender identities. Such work generally lacks feminisms' activist stance and tends to serve primarily as an indictment rather than a validation of male gender practices and masculinity. The so-called "Men’s Movement," inspired by the work of Robert Bly among others, was more practical than theoretical and has had only limited impact on gender discourse. The impetus for the "Men’s Movement" came largely as a response to the critique of masculinity and male domination that runs throughout feminism and the upheaval of the 1960s, a period of crisis in American social ideology that has required a reconsideration of gender roles. Having long served as the de facto "subject" of Western thought, male identity and masculine gender theory awaits serious investigation as a particular, and no longer universally representative, field of inquiry.
Much of what theoretical energy of masculine gender theory currently possesses comes from its ambiguous relationship with the field of "Queer theory." "Queer theory" is not synonymous with gender theory, nor even with the overlapping fields of gay and lesbian studies, but does share many of their concerns with normative definitions of man, woman, and sexuality. "Queer theory" questions the fixed categories of sexual identity and the cognitive paradigms generated by normative (that is, what is considered "normal") sexual ideology. To "queer" becomes an act by which stable boundaries of sexual identity are transgressed, reversed, mimicked, or otherwise critiqued. "Queering" can be enacted on behalf of all non-normative sexualities and identities as well, all that is considered by the dominant paradigms of culture to be alien, strange, unfamiliar, transgressive, odd—in short, queer. Michel Foucault's work on sexuality anticipates and informs the Queer theoretical movement in a role similar to the way his writing on power and discourse prepared the ground for "New Historicism." Judith Butler contends that heterosexual identity long held to be a normative ground of sexuality is actually produced by the suppression of homoerotic possibility. Eve Sedgwick is another pioneering theorist of "Queer theory," and like Butler, Sedgwick maintains that the dominance of heterosexual culture conceals the extensive presence of homosocial relations. For Sedgwick, the standard histories of western societies are presented in exclusively in terms of heterosexual identity: "Inheritance, Marriage, Dynasty, Family, Domesticity, Population," and thus conceiving of homosexual identity within this framework is already problematic.
9. Cultural Studies
Much of the intellectual legacy of "New Historicism" and "Cultural Materialism" can now be felt in the "Cultural Studies" movement in departments of literature, a movement not identifiable in terms of a single theoretical school, but one that embraces a wide array of perspectives—media studies, social criticism, anthropology, and literary theory—as they apply to the general study of culture. "Cultural Studies" arose quite self-consciously in the 80s to provide a means of analysis of the rapidly expanding global culture industry that includes entertainment, advertising, publishing, television, film, computers and the Internet. "Cultural Studies" brings scrutiny not only to these varied categories of culture, and not only to the decreasing margins of difference between these realms of expression, but just as importantly to the politics and ideology that make contemporary culture possible. "Cultural Studies" became notorious in the 90s for its emphasis on pop music icons and music video in place of canonical literature, and extends the ideas of the Frankfurt School on the transition from a truly popular culture to mass culture in late capitalist societies, emphasizing the significance of the patterns of consumption of cultural artifacts. "Cultural Studies" has been interdisciplinary, even antidisciplinary, from its inception; indeed, "Cultural Studies" can be understood as a set of sometimes conflicting methods and approaches applied to a questioning of current cultural categories. Stuart Hall, Meaghan Morris, Tony Bennett and Simon During are some of the important advocates of a "Cultural Studies" that seeks to displace the traditional model of literary studies.
10. References and Further Reading
a. General Works on Theory
- Culler, Jonathan. Literary Theory: A Very Short Introduction. Oxford: Oxford University Press, 1997.
- During, Simon. Ed. The Cultural Studies Reader. London: Routledge, 1999.
- Eagleton, Terry. Literary Theory. Minneapolis, MN: University of Minnesota Press, 1996.
- Lentricchia, Frank. After the New Criticism. Chicago: University of Chicago Press, 1980.
- Moore-Gilbert, Bart, Stanton, Gareth, and Maley, Willy. Eds. Postcolonial Criticism. New York: Addison, Wesley, Longman, 1997.
- Rice, Philip and Waugh, Patricia. Eds. Modern Literary Theory: A Reader. 4th edition.
- Richter, David H. Ed. The Critical Tradition: Classic Texts and ContemporaryTrends. 2nd Ed. Bedford Books: Boston, 1998.
- Rivkin, Julie and Ryan, Michael. Eds. Literary Theory: An Anthology. Malden, Massachusetts: Blackwell, 1998.
b. Literary and Cultural Theory
- Adorno, Theodor. The Culture Industry: Selected Essays on Mass Culture. Ed. J. M. Bernstein. London: Routledge, 2001.
- Althusser, Louis. Lenin and Philosophy: And Other Essays. Trans. Ben Brewster. New York: Monthly Review Press, 1971.
- Auerbach, Erich. Mimesis: The Representation of Reality in Western Literature. Trans.
- Willard R. Trask. Princeton, NJ: Princeton University Press, 1953.
- Bakhtin, Mikhail. The Dialogic Imagination. Trans. Caryl Emerson and Michael Holquist. Austin, TX: University of Texas Press, 1981.
- Barthes, Roland. Image—Music—Text. Trans. Stephen Heath. New York: Hill and Wang, 1994.
- Barthes, Roland. The Pleasure of the Text. Trans. Richard Miller. New York: Hill and Wang, 1975.
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In the concluding paragraphs of this monograph, Peter Kivy anticipates that his principal theses "are . . . going to be treated, at best, with little enthusiasm, and, more likely, at worst, with downright hostility" (p. 163). What he might also have (correctly) anticipated is that readers who indeed require further convincing of his claims will arrive at this conclusion only after being thoroughly engaged by Kivy's stimulating treatment of his themes. Once-Told Tales, like the earlier The Performance of Reading, is a philosophical exploration of the silently read novel grounded in its author's own experience as a reader. The central claim of the earlier monograph -- that silently read literature is a performance art, with silent readings as performances -- is rehearsed in places in the new book, but is not crucial to the latter's principal theses. Rather, taking his own experience of generally reading novels only once as exemplifying the experience of many readers, he argues that the experience of such readers is a central explanandum for the philosophy of literature.
"Serious" readers, for Kivy, are distinguished by the kind of books they read and the importance they ascribe to reading as an activity (pp. 32ff.). The majority of serious readers, he claims, are either "in-it-for-the-story" readers, whose reading is motivated and sustained by an interest in the unfolding narrative, or "thoughtful" readers, who also concern themselves with more general themes -- philosophical, political or otherwise -- explored through the narrative. Neither kind of reader has reason to re-read a novel unless they have forgotten how the story goes. Kivy maintains that it is these kinds of serious readers -- term them "Kivian serious readers" -- that are of most interest to us as philosophers of art, rather than "structural" readers, who take account of and enjoy the structural properties of the novel, or "studious" readers, who read for some ulterior motive such as teaching.
Kivy further claims that Kivian serious readers differ from the "serious listeners" to absolute music who concern us as philosophers of music. Such listeners do seek out repeated auditions of a given work. This difference is something of which artists take account in fashioning their works. Even serious novelists generally write for the Kivian serious reader, whereas composers write for listeners who, they assume, will listen repeatedly to a piece. This, Kivy maintains, has significant but largely unremarked implications for the aesthetics of music and literature. Like many contemporary philosophers of art, he distinguishes between aesthetic properties and artistic properties, taking the former to comprise the sensuous, phenomenological, structural, and maybe emotional properties of artworks. Aesthetic properties, for Kivy, pertain to formal features of a work, while artistic properties may also encompass features of a work's content. Proper attention to the Kivian serious reader's engagement with the silently-read novel will, he claims, lead to a drastically reduced conception of the aesthetic dimensions of the novel relative to other art forms.
He supports this claim by considering three kinds of apparently aesthetic properties of novels to which a Kivian serious reader might attend. First, he maintains, the emotional experiences elicited by characters and events in a novel are matters of content rather than form, and are not properly thought of as aesthetic. Second, unlike serious listeners to absolute music who artistically attend, through repeated listenings, to those structural properties of works that carry the bulk of their aesthetic properties,
the perception or direct awareness of novelistic structure and its aesthetic properties plays little or no part in the novel reader's understanding, appreciation, and enjoyment of novels: even when the reader is a sensitive and sophisticated one, the novel a serious or even a great work of art (p. 30).
And third, unlike poetry, the prose language of the modern novel "is more or less transparent to the reader on ordinary reading, and thus, like novelistic structure, not in normal reading a direct object of artistic attention" (p. 71).
After developing these themes in the first five chapters of the book, Kivy dedicates the next three chapters to some old and new puzzles concerning our novel-reading experience. First, he argues that the difference between the temporally discontinuous nature of our normal reading experience and the temporally continuous nature of our normal experiential engagements with musical works is not merely contingent. The "gappiness" of novel-reading both generates suspense and allows readers to explore the novel's narrative and thematic meanings by recalling and reflecting upon those meanings while not immediately engaging with the text. Musical works, however, have no analogous content upon which listeners might reflect, and very few intended listeners would be able to remember the structural properties of the music were such "gaps" to occur. This helps to explain why the Kivian serious reader is not disturbed by the discontinuous nature of her reading experience whereas a parallel discontinuity would greatly disturb the serious listener. Second, Kivy examines 'Radford's problem' concerning our emotional responses to assumed fictions. He proposes a solution to this problem for cinema and theatre that relies on a notion of "unwilling suspension of disbelief". He more tentatively proposes an extension of this model to silently read novels, but also argues that novels are "in the emotion-arousing business far less than is usually made out" (p. 163). In the final chapter, he critically considers evolutionary explanations of our interest in being told new stories, and addresses some possible objections to his account. The book closes with a lengthy appendix defending his adherence to the form-content distinction against one of his critics.
Kivy draws productively throughout this book on his expertise both in the philosophy of music and in eighteenth- and nineteenth-century aesthetics, and the reader will be both entertained and enlightened by many of the details of the exposition. As noted above, he also draws significantly on his own experience as a consumer of literary fictions. He defends his methodology in the opening chapter and carefully indicates where his own experience as receiver of works plays a role in his arguments. One might question, however, whether this is always sufficient. For example, in defending his solution to Radford's problem for cinema, Kivy appeals to his own experience of having the "occurrent perceptual belief" (see below), in watching a film, of being "the onlooker to real characters and events before my very eyes" (p. 107). But this self-characterization seems to stand in need of philosophical defence or at least gloss given debates in film theory over the coherence of what Gregory Currie terms the "imagined observer hypothesis" -- the idea, to which Kivy seems to subscribe, that film viewers are rightly described as experiencing themselves as observers of the screened events.
Other more general questions bear upon Kivy's attempts to solve Radford's problem for cinema. He takes a solution to this problem -- how can fictions move us to genuine emotions if the latter have a necessary cognitive component? -- to require two apparently incompatible things: first, a belief in the characters and events in the fiction, as a necessary condition for feeling real emotions for them, and second, a disbelief in their reality to avoid the idea that we are under a persistent illusion. His proposed solution maintains that we can at a given time have both the dispositional belief that the characters and events in a film are fictional and the occurrent perceptual belief that they are real. The latter belief is one that we incur unwillingly, just as we unwillingly incur the perceptual belief that one line in the Müller-Lyer illusion is longer than the other even given our evidentially-based dispositional belief that the lines are of identical length.
Is it right, however, to talk here of perceptual belief rather than perceptual experience? Responding to such worries, Kivy offers a conjectural reading (p. 106) of a passage in Spinoza, according to which all perceptual experiences involve an "affirmation". Kivy interprets this as an occurrent belief in the veridicality of the experience. But it seems to me more plausible -- Spinoza exegesis aside -- to say that what is "affirmed" in perceptual experience is the content of the experience, not its veridicality. When, having measured the lines in the Müller-Lyer diagram, I look at them again, I still have the occurrent belief that they look to me to be the same, but surely there is no belief, occurrent or dispositional, that they are the same in length, but only an experience of them as the same in length. But this is a problem if a solution to the Radford problem for cinema requires an occurrent belief -- a 'perceptual' one -- in the veridicality of the experienced content.
In arguing for the relatively non-aesthetic nature of the novel as art form, Kivy attempts to reconcile this with his commitment to a non-autonomist view of the bearing of the ethical merits of a literary work on its artistic value. He does so by insisting that ethical value is not aesthetic value but, rather, a distinct contributor to artistic value. Challenged to say why we should take ethical value, if non-aesthetic, to contribute to artistic value, he seeks to shift the burden of proof to the objector, claiming that "for most of their history the fine arts have been understood as moral instruments: as major sources of moral knowledge and moral improvement" (p. 67). He further charges that it is only those under the baleful influence of aestheticism who would suggest otherwise.
It is important, however, to distinguish the following claims: (1) moral value has historically been viewed as an important value of artworks, and (2) moral value is part of a work's artistic value. For, as Kivy acknowledges, the modern concept of the artwork has itself been partly shaped by the very aestheticist concerns that he decries. Removing our aestheticist spectacles, we can identify artefacts, both in pre-nineteenth-century Western culture and in other cultures, that we classify as artworks although they had primary functions other than serving an 'artistic interest' in the modern sense. Quattrocento Italians, for example, would certainly have assumed that promoting faith was a crucial value in those quattrocento artefacts we take to be visual artworks. It doesn't follow, however, that furthering religious belief is properly viewed as part of such artefacts' artistic value. Kivy might, perhaps, simply dismiss such a notion of 'artistic value' as a legacy of aestheticism. But interestingly he himself insists that what bears on artistic value is not thetruth of the thematic claims of artworks, but their capacity to rewardingly engage those for whom such claims are a "live option" (pp. 50-51). Why, then, should we not adopt the same line in dealing with the ethical character of works? What contributes to artistic value, we might say, is not ethical value -- a matter of being ethically wrong or right -- but a work's capacity to engage the reader ethically through reflection on issues taken to be live options.
Let me conclude with a more general worry about Kivy's central claims. Is the one-time reader of a serious work of fiction -- or, indeed, of a lesser literary artwork -- able to appreciate it as an artwork? Kivy announces his theme to be "the art form known as the novel" (p. 2), and argues that the novel is a relatively non-aesthetic art (p. 163). We might assume, therefore, that he is concerned with the kind of reader who can appreciate a novel as a work belonging to that art form. And, indeed, in arguing that the Kivian serious reader is not usually immediately aware of a novel's structure, Kivy talks of not paying "artistic attention" to such matters, which again suggests that he is concerned with readers' engagement with novels as literary artworks. But, if so, his account appears to commit him to a view of the appreciation of literary artworks as such very different from a widely accepted view of what is involved in the appreciation of other kinds of artworks as such. For here, it seems, to appreciate something as an artwork requires that we attend not merely to a work's content but to the manner in which the artist has used the relevant medium or media in articulating that content. For example, challenges to the artistic pretensions of photography rest on the claim that an artistic interest in a representation is an interest in how the subject has been represented through use of the medium. And Jerrold Levinson's view that an artistic interest in a content-bearing manifold is an interest in "the way content is embodied in form, the way medium has been employed to convey content" is widely endorsed. But, if we apply these general considerations to the silently read novel, it seems that appreciating a novel as a literary artwork requiresinter alia attention to how the novelist has used the medium to tell a given story, and thus explicit attention to the structuring of the narrative. While, as Kivy notes (p. 7), an author's superior grasp of her art can to some extent be registered by a serious reader on a single reading, the kind of "artistic interest" that Levinson describes seems to require more than this.
This is not to deny that the kind of reading elucidated by Kivy is necessary to appreciate a novel as an artwork, nor that "the author crafts the narrative novel with a view to the effect it will have on the reader the first time through" (p. 7). For to appreciate how an author has done something, we must first grasp what has been done, and the relevant qualities -- including the affective qualities -- of the content of a story may only be manifest in a reading that prescinds from concerns with structure and medium. Indeed, this applies more generally in the arts. To appreciate an impressionist painting, for example, one must experience the painting from an appropriate distance in order to register how the painter intended to affect the viewer through the distribution of pigment on canvas. Only then can an artistic interest in the painting lead to a closer scrutiny of means used to produce such an effect.
This might suggest that Kivian serious readers of "serious" novels fail to engage with them fully as works of literary art. If Kivy is right about the kind of "serious" musical listener of interest to the philosopher of art, then arguably the vast majority of listeners fail to be serious, because, in failing to attend systematically to musical structure, they cannot take a properly artistic interest in the music. But then should philosophers of art not perhaps be more concerned with serious "structural" readers than with Kivian serious readers on parallel grounds? However, this worry does not call into question the significance of Kivy's analysis if, as he very plausibly claims, it describes the reading experience of the vast majority of consumers of even serious literature. Nor does it diminish the importance of bringing to our attention neglected aspects of this experience and neglected puzzles to which it gives rise. Kivy is to be warmly commended for the originality and insight of his perspective on literature, and for the lively and engaging manner in which that perspective is developed. Philosophers interested in the complexity and significance of our reading experience will welcome this valuable contribution to our understanding of such matters.
 "Erotic art and pornographic pictures", Philosophy of Literature 29(1) (2005), pp. 228-40: p. 232.