Narrative features such as frames, digressions, or authorial intrusions have traditionally been viewed as distractions from or anomalies in the narrative proper. In Theory and the Novel Jeffrey Williams exposes these elements as more than simple disruptions, analysing them as registers of narrative reflexivity, that is, moments that represent and advertise the functioning of narrative itself. Williams argues that narrative encodes and advertises its own functioning and modal form. He takes a range of novels from the English canon - Tristram Shandy, Joseph Andrews, The Turn of the Screw, Wuthering Heights, Lord Jim and Heart of Darkness are amongst the novels examined - and shows how narrative technique is never beyond or outside plot. He poses a series of theoretical questions such as about reflexitivity, imitation and fictionality, to offer a striking and original contribution to readings of the English novel, as well as to discussions of theory in general.

Using the methods of Frankfurt School theorists Walter Benjamin and Theodor Adorno, David Suchoff offers new readings of Dickens, Melville, and Kafka that underscore the political and social critiques inherent in their novels. Suchoff's aim is to redeem the critical power of mass culture in the modern novel, and he argues that ideological battles fought in American literary criticism during the Cold War decades have limited our current interpretations of mass culture's critical force in political fiction. Suchoff demonstrates how the works of these nineteenth- and early twentieth-century novelists were taken up into the Cold War literary canon and made to fit the arguments of American liberal critics for subversive fiction and of New Historicist critics for a "contained" modern novel. Applying Benjamin's redemptive criticism and Adorno's dialectical method, Suchoff's readings of Dickens, Melville, and Kafka show how the political problems posed by mass culture and audience for each writer became part of the dialectically critical grain of their most important social novels. He examines Dickens's struggle with Victorian taste and the relation of his work to advertising and other nonliterary forms, Melville's confrontations with popular ideologies of American expansion and race, and Kafka's concern with the popular Yiddish theater and Jewish political movements. Throughout, Suchoff reveals the continuing importance of commodity culture in the novel tradition and the concurrent development of cultural criticism. Critical Theory and the Novel provides a useful introduction to Benjamin and Adorno and their uses in practical criticism. It is also an illuminating study of the historical origins of literary theory and cultural criticism and a contribution to the expanding field of Cultural Studies.

In the Greek world under the Roman Empire, the tradition of rhetorical learning reached its heyday in the second century A.D., with the cultural movement named as “Second Sophistic”. Despite the emphasis on rhetoric, literary culture lato senso was was also part of it, granting a special place to poetics and literary criticism. In the wake of this hermeneutical and interdisciplinary approach, the papers assembled in this volume explore signi cant issues, which are linked to the narrative structure of the ancient novel and to the tradition of rhetorical training, both envisaged as a web of well-constructed narrative devices.

The issues addressed in this volume include the limits of language and the need for linguistic form, the significance of creating.

Literature and Moral Theory investigates how literature, in the past 30 years, has been used as a means for transforming the Anglo-American moral philosophical landscape, which until recently was dominated by certain ways of ?doing theory?. It illuminates the unity of the overall agenda of the ethics/literature discussion in Anglo-American moral philosophy today, the affinities and differences between the separate strands discernible in the discussion, and the relationship of the ethics/literature discussion to other (complexly overlapping) trends in late-20th century Anglo-American moral philosophy: neo-Aristotelianism, post-Wittgensteinian ethics, particularism and anti-theory. It shows why contemporary philosophers have felt the need for literature, how they have come to use it for their own (philosophically radical) purposes of understanding and argument, and thus how this turn toward literature can be used for the benefit of a moral philosophy which is alive to the varieties of lived morality.

Lively, original and highly readable, An Introduction to Literature, Criticism and Theory is the essential guide to literary studies. Starting at ‘The Beginning’ and concluding with ‘The End’, chapters range from the familiar, such as ‘Character’, ‘Narrative’ and ‘The Author’, to the more unusual, such as ‘Secrets’, ‘Pleasure’ and ‘Ghosts’. Now in its fifth edition, Bennett and Royle’s classic textbook successfully illuminates complex ideas by engaging directly with literary works, so that a reading of Jane Eyre opens up ways of thinking about racial difference, for example, while Chaucer, Raymond Chandler and Monty Python are all invoked in a discussion of literature and laughter. The fifth edition has been revised throughout and includes four new chapters – ‘Feelings’, ‘Wounds’, ‘Body’ and ‘Love’ – to incorporate exciting recent developments in literary studies. In addition to further reading sections at the end of each chapter, the book contains a comprehensive bibliography and a glossary of key literary terms. A breath of fresh air in a field that can often seem dry and dauntingly theoretical, this book will open the reader’s eyes to the exhilarating possibilities of reading and studying literature.

Discussing such major themes and strands in 20th-century literary theory as hermeneutics, modes of formalism and Marxist and historicist approaches, the author, incorporating philosophical and social perspectives on these trends, offers a deeper and richer reading of literature. Original.

First Published in 2002. Modes and categories inherited from the past no longer seem to fit the reality experienced by a new generation. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change, to stretch rather than reinforce the boundaries that currently define literature and its academic study. The present selection of papers, made from nearly two hundred published, represents in some measure the diversity of the work at the eight Essex Sociology of Literature Conferences.