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Journal articles on the topic 'Literature and Literary Theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 June 2025

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1

Lee, Taek-Gwang. "Literature as a Global Theory." Criticism and Theory Society of Korea 28, no. 3 (2023): 245–66. http://dx.doi.org/10.19116/theory.2023.28.3.245.

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This essay discusses the globalization of literature and its political implications, arguing that literature is not timeless or ahistorical but a modern invention deeply rooted in its historical, linguistic, and cultural context.I begin my arguments by pointing out that “literature” is not universal but a specifically European concept. In Japan, for example, the word “bungaku” (文学), which is translated as “literature”, had a different meaning before Soseki encountered English literature. Soseki confessed that he found it challenging to subsume Chinese classics and English literary works under a single definition of literature. This discrepancy between Chinese and English literature, Soseki argued, is because literature is not simply a collection of writings but a specific style of writing associated with modernity. Literature is not self-explanatory but requires a certain level of cultural literacy to understand. Therefore, the globalisation of literature is not simply a process of spreading European literary culture to other parts of the world. Instead, it adapts European literary forms and concepts to different cultural contexts. This process is often fraught with political implications, as it can involve imposing hegemonic cultural values on marginalized cultures. I conclude by arguing that there is no such thing as political literature, but only literary politics. The style of writing as such is the ambiguous process of modernisation. This means that literature is not simply a tool for political propaganda but rather a complex and multifaceted phenomenon that can be used to explore and challenge a wide range of political issues.

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2

Dev, Amiya. "Literary history, literary theory and comparative literature." Neohelicon 20, no. 2 (1993): 23–29. http://dx.doi.org/10.1007/bf02538799.

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3

Martin, Reginald, and Henry Louis Gates. "Black Literature and Literary Theory." South Central Review 3, no. 1 (1986): 107. http://dx.doi.org/10.2307/3189137.

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4

Dasenbrock, Reed Way, and Henry Louis Gates. "Black Literature and Literary Theory." World Literature Today 59, no. 3 (1985): 430. http://dx.doi.org/10.2307/40140941.

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5

Gates, Henry Louis. "Black Literature and Literary Theory." Poetics Today 6, no. 3 (1985): 562. http://dx.doi.org/10.2307/1771922.

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6

Abodunrin, ‘Femi. "Black literature and literary theory." Wasafiri 7, no. 14 (1991): 7–11. http://dx.doi.org/10.1080/02690059108574243.

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7

Vilaseca, David, and James Kirwan. "Literature, Rhetoric, Metaphysics: Literary Theory and Literary Aesthetics." Modern Language Review 87, no. 3 (1992): 670. http://dx.doi.org/10.2307/3732933.

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8

Sládek, Ondřej. "Karel Hausenblas and literary theory." Česká literatura 71, no. 5 (2023): 624–39. http://dx.doi.org/10.51305/cl.2023.05.03.

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9

Zhou, Xian. "Literary theory, theory, and post-theory." Frontiers of Literary Studies in China 4, no. 1 (2010): 1–18. http://dx.doi.org/10.1007/s11702-010-0001-6.

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10

Kim, Yongsoo. "English Literature and Digital Humanities: Digital Literary Studies in the U. S." Criticism and Theory Society of Korea 23, no. 3 (2018): 35–58. http://dx.doi.org/10.19116/theory.2018.23.3.35.

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11

Elmer, J. "Literary and/as Literacy Studies." NOVEL A Forum on Fiction 46, no. 3 (2013): 453–56. http://dx.doi.org/10.1215/00295132-2345912.

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12

Lee, Seonhyeon. "Toward a Multilingual Space: A Critique of Franco Moretti’s Theory of World Literature." Criticism and Theory Society of Korea 28, no. 3 (2023): 101–37. http://dx.doi.org/10.19116/theory.2023.28.3.101.

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This paper endeavors to undertake a critical examination of Franco Moretti’s theory of world literature, elucidating its limitations, and subsequently proposing an alternative approach. Specifically, it proposes the establishment of a multilingual world literary framework as a counterpoint to the monolingualism emphasized within Moretti’s conception of a world literary ‘space.’ While Moretti’s pioneering “distant reading” method once sparked controversy and marked a transformative juncture in the field of world literature studies in the United States, it has since evolved into one among several critical methodologies in the discipline. In Korea, conversely, Moretti’s theory has attained mainstream recognition within academic research. This prevalence, coinciding with the ascent of digital humanities, quantitative research, and interdisciplinary approaches, may inadvertently lead to an uncritical acceptance of the inherent limitations within Moretti’s theory of world literature. For Moretti, who draws inspiration from Immanuel Wallerstein’s world system theory to conceptualize the world literary space, the paramount objective is to ‘explain’ the complexities of ‘one and unequal’ global literary landscape. However, world literature theory should not only seek to ‘explain’ the unevenness within the world literature space but also engage in a critical analysis of the mechanisms perpetuating these inequalities, ultimately striving to effect change. In this regard, Gayatri Spivak’s notion of ‘planetarity’ and Emily Aptor’s concept of ‘untranslatability’ offer valuable insights, enabling us to envision a multilingual world distinct from the homogeneity often associated with globalization. While their focus centers on exploring the presence of the ‘world in literature,’ Francesca Orsini’s alternative perspective offers a critique of the inherent monolingualism within Moretti’s theory while advocating for the adoption of the concepts of ‘multilingual local’ and ‘significant geographies’ to unravel and elucidate the interrelationship between ‘literature in the world’ and the ‘world in literature.’ Orsini’s argument may provide a reference point for critically engaging with hierarchical center-periphery dynamics by empowering numerous independent local voices. This approach can enable us to reposition Moretti’s theory of world literature as one of the available methodologies, paving the way for a more nuanced and enriched understanding of world literature.

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13

Kim, Soonbae. "그래픽 서사에 대한 문학 비평으로서의 에크프라시스". Criticism and Theory Society of Korea 28, № 1 (2023): 345–71. http://dx.doi.org/10.19116/theory.2023.28.1.345.

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This article is projected to examine the legitimacy of literary discourse regarding the study of comics or graphic narrative. Graphic narrative, as an inclusive term encompassing comics and the graphic novel, has been left on the mere periphery of serious literature or dominant literary discourse, or simply denied its legitimate status. Against this main stream, Hillary Chute, in her recent studies of graphic narrative including Why Comics? From Underground to Everywhere (2017) along with the scholarly minds sharing her critical and theoretical insights, has created a different kind of flow constantly disrupting the establishment of literature. The critic has opened up the possibility of serious critical discourse regarding graphic literature with the particular notions of materiality, immediacy, and ekphrasis. Materiality involves hand-drawn images or visual devices, and verbal elements imbedded on the pages of graphic story-telling. The visual is stylistically blended with the verbal, constituting the visual narrative around frame, panel, gutter, tier, etc. In the process of creating comics, the author undergoes the experience that involves their own bodies with pen and canvas. So, how the author fabricates the form of graphic narrative depends on their own particular style of recognizing and enacting materiality. We also need to understand that the embodied materiality prompts the immediate experience of the reader just as N. Katherine Hayles explains the concept as “the interplay between a text’s physical characteristics and its signifying strategies.” The reading experience of encountering the materialized text evinces the efficacy of directedness or immediacy. Graphic narrative presents to the reader a direct and immediate experience with its visual and mechanical means and its rules of linguistic usage. Therefore, Chute’s critical strategy of graphic narrative comes down to the idea of rhetorical ekphrasis which is concerned with descriptive aesthetics. That means that ekphrasis is postulated here to illuminate the critic’s particularized surface-reading experience as their criticism of the visual narrative instead of symptomatic-reading.

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14

Carr, Barbara, G. Douglas Atkins, and Laura Morrow. "Contemporary Literary Theory." World Literature Today 64, no. 3 (1990): 536. http://dx.doi.org/10.2307/40146846.

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15

Jiang, Zhang. "On Theory-Centrism: The "Literary Theory" Void of Literature." Philosophy and Literature 44, no. 1 (2020): 88–104. http://dx.doi.org/10.1353/phl.2020.0006.

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16

Rabinowitz, Ivan. "Filipendula Literaria: Applied Literary Studies." Journal of Literary Studies 26, no. 2 (2010): 90–102. http://dx.doi.org/10.1080/02564711003683576.

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17

YOUNG, R. "Literary Theory." Year's Work in English Studies 63, no. 1 (1985): 492–545. http://dx.doi.org/10.1093/ywes/63.1.492.

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18

YOUNG, R., N. ROYLE, R. MACDONALD, and R. BOWLBY. "Literary Theory." Year's Work in English Studies 64, no. 1 (1986): 587–618. http://dx.doi.org/10.1093/ywes/64.1.587.

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19

PINKNEY, T., N. ROYLE, M. MINOW, and R. BOWLBY. "Literary Theory." Year's Work in English Studies 66, no. 1 (1988): 19–56. http://dx.doi.org/10.1093/ywes/66.1.19.

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20

Pinkney, T., N. Royle, M. Minow, and R. Bowlby. "Literary Theory." Year's Work in English Studies 67, no. 1 (1989): 17–62. http://dx.doi.org/10.1093/ywes/67.1.17.

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21

PINKNEY, T., M. MINOW, and D. KNIGHT. "Literary Theory." Year's Work in English Studies 68, no. 1 (1990): 12–58. http://dx.doi.org/10.1093/ywes/68.1.12.

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22

PINKNEY, T., R. JARVIS, M. MINOW, and D. KNIGHT. "Literary Theory." Year's Work in English Studies 69, no. 1 (1991): 11–51. http://dx.doi.org/10.1093/ywes/69.1.11.

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23

PINKNEY, T., R. JARVIS, S. MILLS, and M. MINOW. "Literary Theory." Year's Work in English Studies 70, no. 1 (1992): 25–77. http://dx.doi.org/10.1093/ywes/70.1.25.

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24

PINKNEY, T., R. JARVIS, S. MILLS, et al. "Literary Theory." Year's Work in English Studies 71, no. 1 (1993): 35–111. http://dx.doi.org/10.1093/ywes/71.1.35.

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25

Roundtable, Znamia. "Literature Outside Literary Publications." Russian Studies in Literature 36, no. 3 (2000): 30–53. http://dx.doi.org/10.2753/rsl1061-1975360330.

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26

Swirski, Peter. "Literature and Literary Knowledge." Journal of the Midwest Modern Language Association 31, no. 2 (1998): 6. http://dx.doi.org/10.2307/1315087.

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27

HEATH, STEPHEN. "Modern literary theory." Critical Quarterly 31, no. 2 (1989): 35–49. http://dx.doi.org/10.1111/j.1467-8705.1989.tb00909.x.

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28

Hodgson, John. "Literary literacy?" English in Education 53, no. 2 (2019): 113–15. http://dx.doi.org/10.1080/04250494.2019.1613093.

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29

ZHUANG, Peina. "On Variations of Classical Chinese Literary Theory for a Framework of Global Literary History." Cultura 18, no. 1 (2021): 23–40. http://dx.doi.org/10.3726/cul012021.0002.

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Abstract: In "On Variations of Classical Chinese Literary Theory for a Framework of Global Literary History" Peina Zhuang discusses texts of classical Chinese literary theory as a reservoir for philosophical reflections on literary art. The aesthetics of Chinese literature originate in Confucianism and Taoism and hence represent an important background for any discussion of ancient, modern, or contemporary Chinese literature and literary history. Zhuang analyzes texts of classical Chinese literary theory within such a framework of a literary history and aims at furthering Chinese literature to become an integral part of world literatures. Further, Zhuang argues that "history" and "literary history" present a different picture of works on classical Chinese literary theory owing to the variation caused in representing their literary and aesthetic features. Zhuang also posits that the translation of Chinese literary texts to Western languages, while relevant and important, is not enough to advance Chinese literature from a peripheral status to a status of recognition hence the importance of scholarship with regard to literary history specifically.

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30

C, Sadhanandan. "Agathinai Literary Theory in Tolkappiyam." International Research Journal of Tamil 4, S-13 (2022): 25–31. http://dx.doi.org/10.34256/irjt224s134.

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The Theory of the Tamil people and the theory of Tamil literature are intertwined with the agathinai and Agam traditions. Agam literature flourishes on the basis of love in Ainthinai. Seeing the proliferation of literary genres, the field of "Paatiyal" (Treatise on poetic composition) emerged in an attempt to define grammatical principles for literature. Although there are about 46 paatiyal books appearing in the Tamil world, there are only 10 paatiyal books which are available in their entirety today. Taking into account the ideas of Agathinai and Agathurai of Tolkappiyar and the views of Ilapuranar and Nachinarkiniyar, who interpreted them, the twelve pattiyals, the Venba paatiyal, the Navaneetha paatiyal, the Grammatical explanation-pattiyal, the Thonnool explanation, the Swaminatham, the Prabandha genealogy, the Prabandha deepikai, the Prabandha thirattu, and the Prabandha deepam are the types of literature created. On the basis of Agathinai and Agathurai, the grammatical principles for the literary categories such as Ainthinai Poetry, Kaikalai, Kovai, Venilmalai, Nayanappathu, Payodharappathu, Pukalchi Malai, Naamamalai, Perumakilchi Malai, Madal, Ulaamadal, Anuragamalai, Kurathipaattu, Mangala Vellai (Mangala Vallai) and Thoothu have been defined. The purpose of this article is to explain and illustrate these principles.

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31

Wedasuwari, Ida Ayu Made, Ida Bagus Putrayasa, Gede Artawan, and Wayan Artika. "Literary Literacy Development Patterns in the Lentera Community." International Journal of Early Childhood Special Education 14, no. 1 (2022): 432–39. http://dx.doi.org/10.9756/int-jecse/v14i1.221054.

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This study aims to determine the pattern of literary literacy development carried out by the Lentera community. This study used a qualitative research design with grounded theory. This study used three data collection techniques, namely, observation, interviews, and documentation. Data analysis was performed using open coding, axial coding, and selective coding. The results of this study indicated that the modeling pattern is an effort made by the supervisor to guide and improve the literary literacy skills of members through the examples provided. The pattern of modeling development can be done by reading literature, preparing to model, observing models, basic exercises, and evaluation. The pattern of fostering creative works is a pattern of coaching to train members' writing skills with the support of good coaching, ability, and fondness for reading so that members will be able to create a new literary work. Coaching in the pattern of fostering creative works includes: reading literary works, writing literary works, relaxation, and reflection, and evaluation.

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32

McH., B., Patricia Parker, and David Quint. "Literary Theory/Renaissance Texts." Poetics Today 8, no. 2 (1987): 460. http://dx.doi.org/10.2307/1773059.

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33

Herman, David, and Terry Eagleton. "Literary Theory: An Introduction." SubStance 27, no. 2 (1998): 139. http://dx.doi.org/10.2307/3685658.

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34

Cain, William E., and Terry Eagleton. "Literary Theory: An Introduction." Comparative Literature 38, no. 4 (1986): 362. http://dx.doi.org/10.2307/1770397.

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35

Segal, E. "The Literary in Theory." Poetics Today 31, no. 2 (2010): 368–70. http://dx.doi.org/10.1215/03335372-2009-027.

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36

Berger, James, Cathy Caruth, Dominick LaCapra, and Kali Tal. "Trauma and Literary Theory." Contemporary Literature 38, no. 3 (1997): 569. http://dx.doi.org/10.2307/1208980.

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37

Kohlmann, Benjamin. "Proletarian Modernism: Film, Literature, Theory." PMLA/Publications of the Modern Language Association of America 134, no. 5 (2019): 1056–75. http://dx.doi.org/10.1632/pmla.2019.134.5.1056.

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This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent scholarship, proletarian modernists aimed to retool modernism, opening up new and global political futures for it rather than anticipating its end. The article concludes by showing that the cultural genealogy of proletarian modernism mapped out here doubles as a prehistory of contemporary aesthetic theory: it enables us to recognize the significant political and theoretical erasures that structure recent accounts of art's democratic potential.

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38

Thiher, Allen. "A Theory of Literature or Recent Literature as Theory." Contemporary Literature 29, no. 3 (1988): 337. http://dx.doi.org/10.2307/1208451.

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39

Ulicka, Danuta. "Między światami. Rzeczywistość w literaturze – literatura w rzeczywistości – rzeczywistość literatury." Przestrzenie Teorii, no. 28 (May 8, 2018): 21–75. http://dx.doi.org/10.14746/pt.2017.28.1.

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The author attempts to reconstruct a short history of modern Polish literary studies not from the perspective of schools or methodological orientations that are usually applied, but from the perspective of what is known in sociology as cultural themes. This point of view offers the opportunity to (re)construct the process of continuity /discontinuity in the whole field of research focused on the problem of reference, which has been recognized as the most important one in Polish studies (as well as in Polish literature, and art) since its beginning in the first decade of the 20th century. In the broader scope the article attempts to rearticulate the definition of the discipline conventionally called “the theory of literature”, and to propose a new way of writing its history.

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40

Dissanayake, Ellen. "Darwin meets literary theory." Philosophy and Literature 20, no. 1 (1996): 229–39. http://dx.doi.org/10.1353/phl.1996.0008.

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41

Harris, Wendell V. "Moving Literary Theory On." Philosophy and Literature 20, no. 2 (1996): 428–35. http://dx.doi.org/10.1353/phl.1996.0071.

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42

Calinescu, Matei, and Mihai Spariosu. "Literature, Mimesis and Play: Essays in Literary Theory." Comparative Literature 38, no. 1 (1986): 87. http://dx.doi.org/10.2307/1770228.

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43

Brinkmeyer, Robert H. "Southern Literature and Literary Theory (review)." MFS Modern Fiction Studies 39, no. 2 (1993): 375–76. http://dx.doi.org/10.1353/mfs.0.1017.

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44

Dean, Paul. "Current Literature 2000: Literary Theory, History and Criticism." English Studies 83, no. 1 (2002): 9–39. http://dx.doi.org/10.1076/enst.83.1.9.9567.

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45

Dean, Paul. "Current Literature 2001. Literary Theory, History and Criticism." English Studies 84, no. 2 (2003): 145–69. http://dx.doi.org/10.1076/enst.84.2.145.14904.

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46

Dean, Paul. "Current Literature 2002. Literary Theory, History and Criticism." English Studies 84, no. 6 (2003): 558–72. http://dx.doi.org/10.1076/enst.84.6.558.28782.

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47

Durant, Alan. "Modern literary theory in the teaching of literature." Prose Studies 8, no. 1 (1985): 58–78. http://dx.doi.org/10.1080/01440358508586232.

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48

Dean, Paul. "CURRENT LITERATURE 2003: LITERARY THEORY, HISTORY AND CRITICISM." English Studies 85, no. 6 (2004): 532–46. http://dx.doi.org/10.1080/00138380412331339260.

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49

Sapiro, Gisèle. "Literature Festivals." Journal of World Literature 7, no. 3 (2022): 303–31. http://dx.doi.org/10.1163/24056480-00703002.

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Abstract Literary festivals have become authorities in the literary field, promoting works through the charismatic persona of their author, and operating a transfer of symbolic capital from the most famous ones to the newcomers. Some of these festivals are international, and thus play a role in the making of world authorship and of world literature. Based on a quantitative and qualitative study of thirty-eight international literary festivals, this paper focuses on the way international literary festivals reflect, even as they shape, the structure of the transnational literary field. International festivals tend to mirror the unequal conditions of access to world authorship and the power relations that structure the world market for translations. However, some of them develop strategies to counter these power relations. They are also more politicized, and try to construct a more diverse and inclusive transnational public sphere, where writers act as public intellectuals.

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50

Stopel, Bartosz. "Between Theory and Practice: Literary Theory and Analytic Aesthetics." Tekstualia 4, no. 35 (2013): 123–34. http://dx.doi.org/10.5604/01.3001.0013.4632.

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The article aims to determine the relation between literary theory and the analytic philosophy of literature. The former is understood mostly as a body of ideologically and culturally focused normative reading strategies, and the latter as an inquiry into the foundations, assumptions and aims of reading and appreciating works of literature. Although at fi rst it might seem that both approaches seem radically incompatible, a closer inspection reveals that, in some cases, they are complementary, while, in others, the relation is more hierarchical, with aesthetic judgments being logically primary to theory-driven research. At the same time, literary theory is always partly a philosophy of literature, as no theoretical inquiry is free from basic aesthetic considerations on the nature of meaning, authorship, or value judgments. In the end, radically anti-theoretical stances of neopragmatists, literary darwinists, or some analytic aestheticians are misguided to the extent that what impedes or suppresses certain types of research in the humanities is literary theory’s institutionally dominant position, rather than its claims, or the type of research it encourages.

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