General Editor's Preface |
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viii | |
Acknowledgements |
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x | |
Introduction: Moving beyond the Politics of Interpretation |
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1 | (10) |
Part I Formalist Criticism and Reader-Response Theory: A Critical Introduction |
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11 | (80) |
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Twentieth-Century Formalism: Convergence and Divergence |
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13 | (26) |
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Separate yet human: Humanism and formalist conventions |
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17 | (5) |
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Moving from theory to practice: The legacy of I. A. Richards and Cleanth Brooks |
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22 | (4) |
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Another way of knowing: Formalism as literary discourse |
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26 | (2) |
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The limits of formalism: Universalism, eclecticism, and morality in the work of F. R. Leavis and Kenneth Burke |
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28 | (5) |
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The evolution of formalism: The case of Northrop Frye |
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33 | (3) |
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Formalist concerns in the present |
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36 | (3) |
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Russian Formalism, Mikhail Bakhtin, Heteroglossia, and Carnival |
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39 | (12) |
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Signs, signifiers, and the Prague Linguistic Circle |
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44 | (3) |
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Bakhtin and the narratological revolution |
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47 | (4) |
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Reader-Response Theory, the Theoretical Project, and Identity Politics |
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51 | (29) |
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Transactional reading in the theories of Louise M. Rosenblatt and Wayne C. Booth |
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53 | (4) |
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Reader-response theory, narratology, and the structuralist imperative |
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57 | (6) |
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A subjectivist feast: Reader-response theory and psychological criticism |
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63 | (10) |
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Searching for the gendered self: Reader-response theory and feminist criticism |
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73 | (7) |
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Stanley Fish, Self-Consuming Artifacts, and the Professionalization of Literary Studies |
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80 | (11) |
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'Meaning as an event': The evolution of Stanley Fish's reader-response theory |
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82 | (4) |
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'Reading' critical theory, professionalization, and the lingering problem of intentionality |
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86 | (5) |
Part II Readings in Formalist Criticism and Reader-Response Theory |
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91 | (63) |
A: Formalist Critical Readings |
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Travelling through the Valley of Ashes: Symbolic Unity in F. Scott Fitzgerald's The Great Gatsby |
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93 | (14) |
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Nick Carraway's narrative of hope and wonder |
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96 | (7) |
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The Great Gatsby, the romantic tradition, and narrative transcendence |
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103 | (4) |
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Charlotte Bronte and Frye's Secular Scripture: The Structure of Romance in Jane Eyre |
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107 | (16) |
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Romance and its contexts: The archetypal play of form and feeling |
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107 | (5) |
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Romantic expectations: Heroes, heroines, and their quests |
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112 | (5) |
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Descent and ascent: The structural movements of Jane and Rochester |
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117 | (6) |
B: Reader-Response Critical Readings |
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`Telle us som myrie tale, by youre fey!': Exploring the Reading Transaction and Narrative Structure in Chaucer's Clerk's Tale and Troilus and Criseyde |
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123 | (13) |
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Chaucer, narrative discourse, and the Clerk's Tale |
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124 | (5) |
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Chaucer and the transactional possibilities of literary parody |
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129 | (7) |
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Addressing Horizons of Readerly Expectation in Joseph Conrad's Heart of Darkness and Ford Madox Ford's The Good Soldier, or, How to Put the `Reader' in `Reader Response' |
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136 | (18) |
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Engendering reader-response through Conrad's and Ford's literary impressionism |
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138 | (2) |
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Marlow's journey to the ethical void |
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140 | (5) |
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Dowell's narrative circumlocution and the ethics of storytelling |
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145 | (9) |
Conclusion: Beyond Formalist Criticism and Reader-Response Theory |
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154 | (3) |
Notes |
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157 | (12) |
Annotated Bibliography |
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169 | (8) |
Works Cited |
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177 | (11) |
Index |
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188 | |