

College of Arts & Sciences
Modern & classical languages, literatures & cultures.
- Literary Studies
Literary Studies is the study of written works of the imagination, of which poetry, drama and narrative fiction constitute today the most familiar types or genres. Most students and teachers of literature, however, see it as a more complex matter. It might be more accurate to describe it as a set of methods for examining the richness and diversity of experience through unusual uses of language, through a language that we recognize as different from everyday language and that thereby aspires to produce a reflection of and on the world not available to us otherwise. As such, literary works are also primary documents for investigating national histories, world events, the individual psyche, race, class, gender, science, economics, religion, the natural world, leisure and the other arts. Because literary studies engages with countless other disciplines, it is among the most interdisciplinary of any field of study.
Gloria Allaire, Medieval and Renaissance manuscripts; chivalric literature; Arthurian romances in Italian reworkings
Molly T. Blasing , 9th-21st century Russian poetry; photography and poetic writing; lyric theory; the Russian short story; madness in Russian literature and culture
Jianjun He , Early Chinese intellectual history; Classical Chinese poetry and late-imperial vernacular fiction
Julie Human, Medieval French romance, Arthurian literature
Harald Höbusch, Literature and Politics (Thomas Mann, Literature of the Weimar Republic), Expedition Literature, Youth Literature
Liang Luo, Chinese literature and culture, Sino-Japanese literary and cultural interactions, East Asian performance literature and popular culture
Milena Minkova, Latin tradition in its continuity and globality; Medieval Latin and Neo-Latin; Latin Composition; Latin Pedagogy and Active Latin
Jeffrey Peters , Early Modern French Literature and Culture; Philosophies of Space; Masculinity and Rhetoric
Leon Sachs , History and culture of education, literary education, French republicanism, representations of war, science and literature, ecocriticism
Douglas Slaymaker , Film; Visual Arts; 20th-Century Japanese Fiction; Japanese Experience of France; Travel and Travel Writing
Jennifer Tunberg, Neo-Latin Fiction
Ghadir Zannoun , Modern Arabic Literature; Arab Women Writers; Nationalism in Modern Arabic Literature
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- A Raisin in the Sun
- Amiri Baraka
- Arcadia Tom Stoppard
- August Wilson
- Cat on a Hot Tin Roof
- David Henry Hwang
- Edward Albee
- Eugene O'Neill
- European Drama
- Fences August Wilson
- Goethe Faust
- Hedda Gabler
- Henrik Ibsen
- Jean Paul Sartre
- Johann Wolfgang von Goethe
- Lillian Hellman
- Long Day's Journey into Night
- Lorraine Hansberry
- Luigi Pirandello
- Luis Valdez
- M. Butterfly
- Murder in the Cathedral
- No Exit Jean Paul Sartre
- Oedipus Rex
- Oliver Goldsmith
- Prometheus Bound
- Pygmalion Overview
- Sean O'Casey
- She Stoops to Conquer
- Six Characters in Search of an Author
- The Cherry Orchard
- The Children's Hour
- The Glass Menagerie
- The Homecoming
- The Iceman Cometh
- The Importance of Being Earnest
- The Little Foxes
- The Misanthrope
- The Way of the World
- The Wild Duck
- Tom Stoppard
- Who's Afraid of Virginia Woolf?
- William Congreve
- Zoot Suit Luis Valdez
- American Gothic
- American Romanticism
- Black Mountain Poets
- Confessional Poetry
- Dark Romanticism
- Fireside Poets
- Literary Modernism
- Modern American Drama
- Modern American Poetry
- Modern American Prose
- Native American Literature
- New Formalism
- New York School
- Poetry Slam
- Puritan Literature
- San Francisco Renaissance
- Slave Narrative
- Transcendentalism
- A Journal of the Plague Year
- A Map of the World
- A Tale of Two Cities
- Albert Camus
- Alexandre Dumas
- Alias Grace
- All Quiet on the Western Front
- An American Childhood
- Anita Desai
- Anna Karenina
- Annie Dillard
- Antelope Wife
- As I Lay Dying
- Babylon Revisited
- Bernard Malamud
- Blood Meridian
- Bobbie Ann Mason
- Book of Daniel
- Brideshead Revisited
- Brothers and Keepers
- Captain Corellis Mandolin
- Carson McCullers
- Cat's Cradle
- Cathedral by Raymond Carver
- Charles Bukowski
- Charles Chesnutt
- Clear Light of Day
- Cormac McCarthy
- Crime and Punishment
- Cry the Beloved Country
- Daniel Defoe
- David Foster Wallace
- Death Comes for the Archbishop
- Don DeLillo
- Don Quixote
- EL Doctorow
- Edith Wharton
- England England
- Erich Maria Remarque
- Ethan Frome
- European Literature
- Evelyn Waugh
- Fahrenheit 451
- Fathers and Sons
- Flaubert's Parrot
- Ford Madox Ford
- Frances Harper
- Franz Kafka
- Fyodor Dostoevsky
- Gabriel Garcia Marquez
- GeorgeOrwell
- Gertrude and Claudius
- Go Tell It on the Mountain
- Going After Cacciato
- Gravitys Rainbow
- Great Expectations
- Gulliver's Travels
- Gustave Flaubert
- Haruki Murakami
- Henry Fielding
- Herman Melville
- Hermann Hesse
- In Cold Blood
- In the Lake of the Woods
- In the Time of the Butterflies
- Infinite Jest
- Invisible Cities
- Invisible Man
- Islands in the Stream
- Italo Calvino
- Ivan Sergeyevich Turgenev
- JD Salinger
- Jack Kerouac
- James Baldwin
- Jane Hamilton
- Jazz (1992) Toni Morrison
- Jean Toomer
- Jill Ker Conway
- John Cheever
- John Edgar Wideman
- John Fowles
- John Updike
- Jonathan Swift
- Joseph Heller
- Joyce Carol Oates
- Julia Alvarez
- Julian Barnes
- Kafka on the shore
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- Katherine Mansfield
- Kingsley Amis
- Kurt Vonnegut
- Leo Tolstoy
- Light in August
- Louis de Bernieres
- Louise Erdrich
- Love in the Time of Cholera
- Madame Bovary
- Maggie A Girl of the Streets
- Mansfield Park
- Margaret Laurence
- Markus Zusak
- Martin Amis
- Maxine Hong Kingston
- Miguel de Cervantes
- Milan Kundera
- Moll Flanders
- Mrs. Dalloway
- Naked Lunch
- Nathaniel Hawthorne
- Nineteen Eighty-Four
- Northanger Abbey
- Norwegian Wood
- Notes From Underground
- O Pioneers!
- Oceanian Literature
- Octavia Butler
- Of Mice and Men
- Of Mice and Men Chapter 1
- Of Mice and Men Chapter 2
- Of Mice and Men Chapter 3
- Of Mice and Men Chapter 4
- Of Mice and Men Chapter 5
- Of Mice and Men Chapter 6
- On the Road
- One Hundred Years of Solitude
- Passing by Nella Larsen
- Philip K. Dick
- Philip Roth
- Portrait of the Artist as a Young Man
- Rabbit, Run
- Ragtime Novel
- Ralph Ellison
- Ray Bradbury
- Raymond Carver
- Richard Wright
- Robinson Crusoe
- Rudolfo Anaya
- Sandra Cisneros
- Saul Bellow
- Scarlet Letter
- Serafina's Stories
- Ship of Fools
- Sister Carrie
- Slaughterhouse Five
- Song Of Solomon
- Sons and Lovers
- Stephen Crane
- Tess of the D'Ubervilles
- The Adventures of Augie March
- The Adventures of Huckleberry Finn
- The Adventures of Tom Sawyer
- The Age of Innocence
- The American
- The Aspern Papers
- The Book Thief
- The Book of Ruth
- The Catcher in the Rye
- The Conjure Woman
- The Crying of Lot 49
- The French Lieutenant's Woman
- The Garden Party and Other Stories
- The Good Soldier
- The Heart is a Lonely Hunter
- The Heart of The Matter
- The House of Mirth
- The House of the Seven Gables
- The House on Mango Street
- The Joy Luck Club
- The Legend of Sleepy Hollow
- The Loved One
- The Making of Americans
- The Man in the High Castle
- The Mayor of Casterbridge
- The Member of the Wedding
- The Metamorphosis
- The Natural
- The Plot Against America
- The Portrait of a Lady
- The Power of Sympathy
- The Red Badge of Courage
- The Road from Coorain
- The Sound and the Fury
- The Stone Angel
- The Stranger
- The Sun Also Rises
- The Temple of My Familiar
- The Three Musketeers
- The Unbearable Lightness Of Being
- The Wapshot Chronicle
- The Woman Warrior
- Their Eyes Were Watching God
- Theodore Dreiser
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- Tim O'Brien
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- Uncle Tom's Cabin
- Virginia Woolf
- Vladimir Nabokov
- Voyage in the Dark
- Washington Irving
- We Were the Mulvaneys
- What We Talk About When We Talk About Love
- White Noise
- Wide Sargasso Sea
- Willa Cather
- William Faulkner
- William Hill Brown
- William S. Burroughs
- 77 Dream Songs
- A Barred Owl
- A Red Red Rose
- A. R. Ammons
- Adrienne Rich
- Alexander Pope
- Allen Ginsberg
- An American Sunrise
- And death shall have no dominion
- Andrew Marvell
- Anne Bradstreet
- As I Walked Out One Evening
- As Kingfishers Catch Fire
- Balder Dead
- Bells for John Whiteside's Daughter
- Binsey Poplars
- Briefings Collection
- Carl Sandburg
- Carolyn Forche
- Chicago Poem
- Concord Hymn
- Concord Hymn by Jack Spicer
- Crossing the Swamp
- Danse Russe
- Derek Walcott
- Diving into the Wreck
- Do Not Go Gentle Into That Good Night
- Dover Beach
- Drink to Me Only With Thine Eyes
- Dylan Thomas
- E. E. Cummings
- Easter 1916 Poem
- Edgar Allan Poe
- Edmund Spenser
- Edward Kamau Brathwaite
- Elegy Written in a Country Churchyard
- Elegy for Jane
- Elegy for a Jet Pilot
- Elizabeth Barrett Browning Biography
- Elizabeth Bishop
- Emancipation from British Dependence Poem
- Epitaph on the World
- European Poetry
- Five Flights Up
- For Jane Meyers
- For That He Looked Not Upon Her
- For the Union Dead
- Frank O'Hara
- Garrett Hongo
- Gary Snyder
- George Gascoigne
- George Oppen
- Gerard Manley Hopkins
- Gertrude Stein(1874-1946)
- Gwendolyn Bennett
- Gwendolyn Brooks
- Helen In Egypt
- Henry David Thoreau
- Here Philip Larkin
- Hilda Doolittle
- How We Became Human
- I Carry Your Heart with Me
- I, Too Langston Hughes
- If I Could Tell You
- If you forget me Pablo Neruda
- In the Waiting Room
- Jack Spicer
- James Schuyler
- John Ashbery
- John Berryman
- John Crowe Ransom
- Landscape with the Fall of Icarus
- Law Like Love
- Leaves of Grass
- Leslie Marmon Silko
- Let America be America again
- Li-Young Lee
- Life Studies
- Lorine Niedecker
- Louise Glück
- Mary Oliver
- Matthew Arnold
- May Swenson
- Meaningful Love
- Midsummer, Tobago
- Musee des Beaux Arts (1939)
- My Papa's Waltz
- My People Langston Hughes
- Ode to the Confederate Dead
- Ogun by Kamau Brathwaite
- On Being Brought from Africa to America
- On Her Loving Two Equally
- On My First Sonne
- On the Banks of the Ohio
- On the Bus with Rosa Parks
- One Hundred Love Sonnets XVII
- Pablo Neruda
- Phenomenal Woman
- Philip Freneau
- Phillis Wheatley
- Picture Bride
- Pied Beauty
- Poems on Various Subjects Religious and Moral
- Poetry of Departures
- Rebecca Hammond Lard
- Richard Eberhart
- Richard Wilbur
- Robert Browning
- Robert Hayden
- Robert Lowell
- Sailing to Byzantium
- Seamus Heaney Digging
- Seasons of the Soul
- Sic Vita Thoreau
- Sir Philip Sidney
- Some Trees Poem
- Songs of Innocence
- Spring and All
- Storyteller
- Sunday Morning
- Sylvia Plath
- The Author to Her Book
- The Bean Eaters
- The Black Walnut Tree
- The British Prison Ship
- The Buried Lake
- The Centaur
- The Colonel
- The Convergence Of The Twain
- The Day Lady Died
- The Death of a Toad
- The Definition of Love
- The Empty Glass
- The Faerie Queene
- The Groundhog
- The Hollow Men
- The Indian Burying Ground
- The Juggler
- The Kaddish
- The Lake Isle of Innisfree
- The Love Song of J Alfred Prufrock
- The Man He Killed
- The Marriage of Heaven and Hell
- The Odyssey
- The Rape of the Lock
- The Raven Edgar Allan Poe
- The Red Wheelbarrow
- The Second Coming
- The Shield of Achilles
- The Unknown Citizen
- The Weary Blues
- The Wild Honey Suckle
- The Wild Iris
- The Windhover
- Theodore Roethke
- Thirteen Ways of Looking at a Blackbird
- Thomas Gray
- Those Winter Sundays
- Thou Blind Man's Mark
- To Brooklyn Bridge
- To His Coy Mistress
- To My Dear and Loving Husband
- To Penshurst
- To a Dark Girl
- Wallace Stevens
- Walt Whitman
- We Real Cool
- When Lilacs Last in the Dooryard Bloom'd
- William Butler Yeats
- William Carlos Williams
- Yellow Light
- [Buffalo Bill 's] by E. E. Cummings
- African American Diaspora
- African American Literature
- American Crime Fiction
- American Diaspora
- American Jewish Fiction
- Appalachian Fiction
- Canadian Fiction
- Chicano Poetry
- Chinese American Literature
- Latin American Literature
- Local Color Novel
- Southern Fiction
- A Good Man is Hard to Find
- A Rose for Emily
- Battle Royal
- Death by Landscape
- Desiree's Baby
- Dry September
- Flannery O Connor
- Guy De Maupassant
- Interpreter of Maladies
- James McBride
- Jhumpa Lahiri
- The Necklace
- The Pardoner's Tale
- The Tell Tale Heart
- The Under Graham Railroad Box Car Set
- Where Are You Going, Where Have You Been?
- A Doll's House
- A Streetcar Named Desire
- Anton Chekhov
- Arthur Miller
- Bertolt Brecht
- Brian Friel
- Christopher Marlowe
- Dancing at Lughnasa
- Death of a Salesman
- Doctor Faustus
- George Bernard Shaw
- Harold Pinter
- Jez Butterworth
- John Webster
- Julius Caesar
- Measure for Measure (1603-1604)
- Much Ado About Nothing
- Our Country's Good (1988) Overview
- Polly Stenham
- Richard Brinsley Sheridan
- Romeo and Juliet
- Rosencrantz and Guildenstern are Dead
- Sam Shepard
- Samuel Beckett
- Shelagh Delaney
- Taste of Honey
- Tennessee Williams
- The Birthday Party
- The Crucible
- The Duchess of Malfi
- The History Boys
- The Life of Galileo
- The Merchant of Venice
- The School for Scandal
- The Seagull
- The Taming of the Shrew
- The Tempest
- The Threepenny Opera
- The Winter's Tale
- Timberlake Wertenbaker
- Twelfth Night
- Uncle Vanya
- Waiting for Godot
- William Shakespeare
- A Room of One's Own
- A Summary View of the Rights of British America
- Abraham Lincoln
- Alas Poor Richard
- Alexander Hamilton
- Ballot or the Bullet
- Barack Obama
- Barack Obama Second Inaugural Address
- Benjamin Franklin
- Civil Disobedience
- Common Sense
- Death of a Moth
- Declaration of Independence
- Gettysburg Address
- I Have a Dream
- James Madison
- Letter From a Birmingham Jail
- Martin Luther King Jr.
- Notes of a Native Son
- Notes on the State of Virginia
- On Property
- Politics and the English Language
- Ralph Waldo Emerson
- Rights of Man
- Self-Reliance
- Shooting an Elephant
- Street Haunting
- Thomas Jefferson
- Thomas Paine
- Walking Thoreau
- Critical Race Theory
- Cultural Studies
- Deconstruction
- Derrick Bell
- Disability Theory
- Eco-Criticism
- Edward Said
- Eve Kosofsky Sedgwick
- F. R. Leavis
- Feminist Literary Criticism
- Ferdinand Saussure
- Formalism Literary Theory
- Fredric Jameson
- Freudian Criticism
- Gayatri Chakravorty Spivak
- Harold Bloom
- Helene Cixous
- Homi Bhabha
- Intersectionality
- Jacques Derrida
- Jacques Lacan
- Jean Baudrillard
- Jean-Francois Lyotard
- Julia Kristeva
- Kimberle Crenshaw
- Luce Irigaray
- Marxism Literary Criticism
- Mikhail Bakhtin
- Narratology
- New Historicism
- Patricia J. Williams
- Post-Structuralism
- Postcolonial Literary Theory
- Postmodern Literary Theory
- Psychoanalytic Literary Criticism
- Queer Theory
- Raymond Williams
- Reader Response Criticism
- Roland Barthes
- Roman Jakobson
- Rosemarie Garland Thomson
- Stephen Greenblatt
- Structuralism Literary Theory
- Terry Eagleton
- Walter Benjamin
- Walter Pater
- Academic and Campus Novel
- Adventure Fiction
- African Literature
- Amatory Fiction
- Antistrophe
- Autobiography
- Biblical Narrative
- Bildungsroman
- Blank Verse
- Children's Fiction
- Chivalric Romance
- Christian Drama
- Cliffhanger
- Closet drama
- Comedy in Drama
- Contemporary Fantasy
- Creative Non-Fiction
- Crime Fiction
- Cyberpunk Literature
- Detective Fiction
- Didactic Poetry
- Domestic Drama
- Dramatic Devices
- Dramatic Monologue
- Dramatic Structure
- Dramatic Terms
- Dramatis Personae
- Dystopian Fiction
- Elegiac Couplet
- English Renaissance Theatre
- Epic Poetry
- Epistolary Fiction
- Experimental Fiction
- Fantasy Fiction
- Feminist Literature
- Fictional Devices
- First World War Fiction
- Flash Fiction
- Foreshadowing
- Framed Narrative
- Genre Fiction
- Ghost Stories
- Gothic Novel
- Hard Low Fantasy
- Heroic Couplet
- Heroic Drama
- Historical Fantasy Fiction
- Historical Fiction
- Historical Romance Fiction
- Historiographic Metafiction
- Horatian Ode
- Horatian Satire
- Horror Novel
- Hyperrealism
- Iambic Pentameter
- Indian Literature
- Interleaving
- Internal Rhyme
- Intertextuality
- Irish Literature
- Limerick Poem
- Linear Narrative
- Literary Antecedent
- Literary Archetypes
- Literary Fiction
- Literary Form
- Literary Realism
- Literary Terms
- Literature Review
- Liturgical Dramas
- Lyric Poetry
- Magical Realism
- Malapropism
- Medieval Drama
- Metafiction
- Metrical Foot
- Miracle Plays
- Morality Plays
- Mystery Novels
- Mystery Play
- Narrative Dicosurse
- Narrative Form
- Narrative Literature
- Narrative Nonfiction
- Narrative Poetry
- Neo-Realism
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- Non-linear Narrative
- Northern Irish Literature
- One Act Play
- Oral Narratives
- Organic Poetry
- Pastoral Fiction
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- Pathetic Fallacy
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- Picaresque Novel
- Poetic Devices
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- Poetic Terms
- Political Satire
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- Psychological Fiction
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- Regency Romance
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- Research Article
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- Rhyme Scheme
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- Romance Fiction
- Satirical Poetry
- Sceptical Literature
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- Shakespearean Sonnet
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- Social Realism Literature
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- Supernatural Fiction
- The Early Novel
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- Translations and English Literature
- Urban Fiction
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- Literary Character
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- Point of View
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- Unreliable Narrator
- Aestheticism
- Aestheticism in Literature
- Age of Enlightenment
- American Naturalism
- American Realism
- Anglo Norman
- Anti-Aestheticism
- Beat Generation
- Bloomsbury Group
- Cavalier Poets
- Confessional Poets
- Elizabethan Age
- Expressionism
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- Jacobean Drama
- Kitchen Sink Realism
- Literary Minimalism
- Lost Generation
- Mersey Beat
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- Performance Poetry
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- Social Novel
- Social realism (1930s-1980s)
- Sturm und Drang
- The Augustan Age
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- Victorian Period
- Alternative Literature
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- Alan Bennett
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- Anna Funder
- Anonymous Author
- Bill Bryson
- Down and Out in Paris and London
- George Orwell (Non-fiction)
- Goodbye To All That
- H is for Hawk
- Helen Macdonald
- I Am The Secret Footballer
- I Know Why The Caged Bird Sings
- Jeanette Winterson
- Jenny Diski
- Long Walk to Freedom
- Maya Angelou
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- Notes from a Small Island
- Olaudah Equiano
- Robert Graves
- Skating to Antarctica
- Solomon Northup
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- Testament of Youth
- The Diary of a Young Girl
- The Examined Life
- The Interesting Narrative of the Life of Olaudah Equiano
- The Lost Continent
- Truman Capote
- Twelve Years a Slave
- Vera Brittain
- Why Be Happy When You Could be Normal
- A Christmas Carol
- A Farewell to Arms
- A Passage to India
- A Room with a View
- A Thousand Splendid Suns
- Aldous Huxley
- Alice Walker
- Andrea Levy
- Angela Carter
- Animal Farm
- Annie Proulx
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- Bleak House
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- Bring Up the Bodies
- Charles Dickens
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- D.H Lawrence
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- East of Eden
- Elizabeth Gaskell
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- Enduring Love
- Ernest Hemingway
- F Scott Fitzgerald
- Far from the Madding Crowd
- Fingersmith
- For Whom the Bell Tolls
- Frankenstein
- Gabriel Marquez
- George Eliot
- George Orwell
- Graham Greene
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- HG Wells War of The Worlds
- Half of a Yellow Sun
- Henry James
- Hilary Mantel
- In A Glass Darkly
- Iris Murdoch
- Iris Murdoch The Sea The Sea
- J. M. Coetzee
- Jamaica Inn
- James Joyce
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- John Steinbeck
- Jonathan Coe
- Joseph Conrad
- Kate Chopin
- Kathryn Stockett
- Kazuo Ishiguro
- Khaled Hosseini
- Life and Times of Michael K
- Margaret Atwood
- Mary Shelley
- Middlemarch
- NW Zadie Smith
Never Let Me Go
- Never Let Me Go background
- Nights at the Circus
- North and South
- One Flew Over the Cuckoos Nest
- Oranges are not the only Fruit
- Oryx and Crake
- Oscar Wilde
- Persuasion Jane Austen
- Possession AS Byatt
- Pride and Prejudice
- Pride and Prejudice Chapter 1
- Purple Hibiscus
- Regeneration Pat Barker
- Revolutionary Road
- Richard Yates
- Robert Browning Novelist
- Robert Louis Stevenson
- Sarah Waters
- Sebastian Faulks
- Sense and Sensibility
- Sheridan Le Fanu
- Small Island
- Tender is the Night
- Tess of the D Urbervilles
- The Awakening
- The Bell Iris Murdoch
- The Bell Jar
- The Blind Assassin
- The Bloody Chamber
- The Color Purple
- The Go-Between
- The God of Small Things
- The Grapes of Wrath
- The Great Gatsby
- The Handmaid's Tale
- The Heart of Darkness
- The Help Kathryn Stockett
- The Little Stranger
- The Mill on the Floss
- The Mirror and the Light
- The Namesake
- The Picture of Dorian Gray
- The Remains of the Day
- The Rotters Club
- The Secret Agent
- The Shipping News
- The Sign of the Four
- The Strange Case of Dr Jekyll and Mr Hyde
- The Turn of the Screw
- The Woman in White
- Things Fall Apart
- Toni Morrison
- Waiting for the Barbarians
- What Maisie Knew
- White Teeth Zadie Smith
- Wilkie Collins
- Wives and Daughters
- Women in Love
- Wuthering Heights
- Zadie Smith
- Zadie Smith On Beauty
- A Bird came down the Walk
- A Quoi Bon Dire
- A Valediction Forbidding Mourning
- A Woman Without a Country
- A narrow Fellow in the Grass
- Absent from Thee
- Ae Fond Kiss
- Alfred Lord Tennyson
- America Claude Mckay
- Anne Sexton
- Ariel Sylvia Plath
- Auld Lang Syne
- Batter My Heart
- Birthday Letters
- Carol Ann Duffy
- Charlotte Mew
- Christina Rossetti
- Death Be Not Proud
- Dulce et Decorum Est
- Eavan Boland
- Edna St Vincent Millay
- Elegy XIX To His Mistress Going to Bed
- Elizabeth Jennings
- Emily Dickinson
- Ernest Dowson
- For My Lover Returning To His Wife
- From Sonnets from the Portuguese XXIV
- Frost at Midnight
- Geoffrey Chaucer
- George Herbert
- Holy Sonnet VII
- Homecoming Simon Armitage
- Hope is the thing with feathers
- I Wandered Lonely As a Cloud
- I felt a Funeral, in my Brain
- I, Being born a Woman and Distressed
- If We Must Die
- In Memoriam Tennyson
- It was not Death for I stood up
- Jacob Sam La Rose
- John Milton
- John Wilmot
- Kid Simon Armitage
- Le Belle Dame sans Merci A Ballad
- Lines Composed a Few Miles Above Tintern Abbey
- Louis MacNeice
- Love and a Question
- Marianne Moore
- Meeting Point
- Memory Christina Rossetti
- Mending Wall
- Musee des Beaux Arts
- My Last Duchess
- Non Sum Qualis Eram Bonae Sub Regno Cynarae
- Ode on a Grecian Urn
- Ode to a Nightingale
- Ode to the West Wind
- Out of the Bag
- Paradise Lost
- Percy Bysshe Shelley
- Philip Larkin
- Richard Lovelace
- Robert Burns
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- She Walks in Beauty
- Siegfried Sassoon
- Simon Armitage
- Sir Thomas Wyatt
- So We'll Go No More a Roving
- Songs of Experience Collection
- Stop All the Clocks
- The Canterbury Tales
- The Darkling Thrush
- The Death Bed Siegfried Sassoon
- The Famine Road by Eavan Boland
- The Garden of Love
- The Good Morrow
- The Love Poem
- The Mind is an Enchanting Thing
- The Rime of the Ancient Mariner
- The Road Not Taken
- The Ruined Maid
- The Scrutiny
- The Sun Rising
- The Waste Land
- The Whitsun Weddings
- This is Just to Say
- Thomas Gray (1716-1771)
- Thomas Hardy
- To Lucasta, Going to the Wars
- What Are Years
- Whoso List to Hunt
- Wilfred Owen
- William Blake
- William Wordsworth
- Woman in Kitchen
Lerne mit deinen Freunden und bleibe auf dem richtigen Kurs mit deinen persönlichen Lernstatistiken
Nie wieder prokastinieren mit unseren Lernerinnerungen.
Literature is as diverse and varied as the world itself, which means we can study it from many different perspectives! The field of literary studies is all about studying literature from these different angles and using the written word to learn more about our world.
What Is American Literary Studies?
Literary studies is the field dedicated to the study of the written word, including fiction, nonfiction, drama, and poetry. American literary studies, therefore, generally focuses on the study of literature written in English by authors in the United States. University students of literary studies do close readings and analyze texts from various genres based on different kinds of literary theory and criticism. As literature functions as a mirror of human experience, literary studies often contains many different themes and topics.
Close reading: a careful reading of a text in which the reader develops a complex understanding of the passage’s meaning. The close reader discovers details and nuances upon which they can build an analysis of the text.

This means that literary studies is often highly interdisciplinary . To gain the required knowledge and context to understand certain works of literature, students might find themselves studying history, theories of culture and ethnicity, political science, philosophy, sociology, psychology, and more.
This is also true in American literary studies, where students encounter authors from many different backgrounds. To better analyze the diverse body of work that is American literature, many academics use theories from other disciplines, such as the fields of ethnic and cultural studies.
Interdisciplinary: an adjective used to describe a field of study that combines elements from many different disciplines.
What is the difference between literary theory and literary criticism?
Literary theory refers to the various lenses that scholars use to interpret literature. There are numerous literary theories, such as queer theory, gender studies, postcolonial theory, critical race theory, and so on. Literary criticism is the practice of analyzing a text, often using literary theories. A single text could be interpreted in several different ways using various literary theories.
Cultural Studies and Literary Theory
Theories of cultural studies are frequently used as a lens through which to study literature.
What Is Cultural Studies?
Cultural studies is a field that combines many different disciplines to study cultural phenomena around the world. Students of cultural studies are particularly interested in how systems of power, including class, race, gender, ethnicity, and national identity, relate to and influence social and cultural practices.
Cultural studies programs at colleges and universities are generally highly interdisciplinary and can include the study of political science, economics, history, philosophy, psychology, literature, communication, and more.
How Can We Combine Cultural Studies and Literary Theory?
Literature is a key part of culture and a reflection of culture. Therefore, we can study literature as a part of culture, and we can use theories of cultural studies to analyze the culture we find represented in literature. Combining literary and cultural studies can help you to understand the context in which literature is produced.
Cultural studies can help students to better understand the social and cultural practices that shaped an author’s life and how their literature is related to these broader cultural phenomena.
Ethnic Studies and Literary Theory
Theories of ethnic studies are often useful when it comes to analyzing literature.
What Is Ethnic Studies?
Ethnic studies is the study of race and ethnicity with a focus on historically underrepresented populations within the United States. It is generally a field of study that examines the experiences of marginalized populations and promotes scholarship from these same groups of people. Like cultural studies, many college ethnic studies programs are interested in systems of power, such as class, race, gender, ethnicity, and national identity, and how these systems relate to the lived experiences of various ethnic groups.
Like cultural studies, ethnic studies is also a highly interdisciplinary field that combines many different lines of study.
How Can We Combine Ethnic studies and Literary Theory?
As high schools, colleges, and universities across the United States make an effort to diversify their curricula, the literature of underrepresented ethnic and cultural groups is becoming more widely read in the classroom.
Combining ethnic and literary studies can help students to better analyze the texts of marginalized authors by giving an understanding of how and why the experiences of various ethnic groups differ from that of the dominant culture. Students will also benefit from the ability to critique any text using academic theories of race and ethnicity.
Resources for Literary Studies
Students of literary studies are often in need of resources to help them with their studies. Various books and academic journals discuss different literary theories and critique literature that students might find helpful when preparing their own analyses. The following are just a few examples of the vast array of books and journals available on the topic of literary studies.

There are an endless number of books on the topic of literary studies. Some are very general and give college and university students an overview of the field of literary studies. Others are very specific and focus on specific literary theories or topics of study.
An Introduction to Literature, Criticism and Theory (2016)
This book by Andrew Bennett and Nicholas Royle provides students with an overview of literary studies. Starting with a chapter entitled “The Beginning” and ending with one called “The End,” this comprehensive book covers topics such as the uncanny, the postmodern, racial difference, the role of history in literature, and more.
Character: Three Inquiries in Literary Studies (2019)
This book by Amanda Anderson, Rita Felski, and Toril Moi explores more specific issues related to literary studies . The three authors take up the question of character-based criticism in literature. It’s generally believed that literary critics should remember that the characters on the page are not real and should not be treated as such. Resisting the urge to identify with literary characters helps critics make a more formal analysis.
Anderson, Felski, and Moi, however, suggest that critics reconsider their treatment of characters. Perhaps, in some literary situations, a more nuanced approach is called for. The three authors explore how the study of characters can enhance our understanding of literature. They look at the reasons why literary studies abandoned character criticism and question whether it is really a bad thing when literary critics write about their identification with characters in their works.
Do you treat characters as real people when you read? Do you become attached to them or feel as if they’re your friends? How do you think seeing characters as real people versus as literary inventions might affect your analysis of a text?
Academic journals can also be an excellent resource for students of literary studies. Like books, there are innumerable literary journals available. Some cover specific kinds of literature or subjects within literature. Others are more general.
Concentric: Literary and Cultural Studies
This is a twice-yearly journal published by the Department of English at National Taiwan Normal University. It features articles on a variety of topics, including classic and contemporary literature. Journals such as Concentric, which is known for its innovative and transnational content that prioritizes Asian-based scholarship, highlight the interdisciplinary and global nature of literary studies.
Journal of Modern Literature
Another excellent example of a literary studies journal is the Indiana University Press’ Journal of Modern Literature. It publishes scholarly articles on literature in all languages, ranging from 1900 through to today, and receives contributions from academics all around the world.
Literary Studies - Key takeaways
- Literary studies refers to the study of the written word, including fiction, nonfiction, poetry, and drama.
- Literary studies is a highly interdisciplinary field that can combine the study of literature with theories from other academic disciplines.
- Theories of cultural and ethnic studies are often applied to the study of literature.
- Combing literature with cultural and/or ethnic studies can help students to understand the broader cultural context of literature.
- There are a variety of books and academic journals available as resources to aid students in literary studies.
Frequently Asked Questions about Literary Studies
--> what is literary studies.
Literary studies is the study of the written word, including fiction, nonfiction, drama, and poetry.
--> What is English and literary studies all about?
English and literary studies is essentially about learning to think critically about a wide variety of texts. Students of literary studies will have the opportunity to learn about various literary theories, apply these theories to texts, and develop their own analyses.
--> What do you learn in literary studies?
In the literary studies classroom, you will learn to close read and critique an array of texts. You will learn various literary theories and learn how to apply them critically to texts that you read in class. You will also learn to research effectively and learn how to apply your research to your critiques and analyses.
--> What is the purpose of literary study?
Studying literature will give you an in-depth look into the human experience. You will encounter a variety of texts from different times and places that will help you to develop an understanding of how humanity relates to one another and how experiences and perspectives vary across history and between cultures.
--> What are the types of literary studies?
There are many different ways to approach literary studies, and many colleges and universities have various areas of focus that students can choose. Oftentimes, these areas of focus might correspond with particular literary theories, such as queer theory and gender studies, postcolonial theory, or cultural studies.
Final Literary Studies Quiz
What do students of literary studies study?
Show answer
The written word, including fiction, nonfiction, poetry, and drama.
Show question
What is ethnic studies?
Ethnic studies is the study of race and ethnicity.
What is cultural studies?
Cultural studies is the study of cultural phenomena and practices around the world.
Literary theory refers to specific theories that are then used as a lens to critique literature.
What does interdisciplinary mean?
Interdisciplinary refers to a field of study that combines elements from many different disciplines.
What is NOT an example of a literary theory that might be used to critique literature?
Quantum theory
True or false? Literary critics are discouraged from identifying with characters or treating them as real people.
Who are the authors of Character: Three Inquiries in Literary Studies ?
Amanda Anderson, Rita Felski, and Toril Moi
What resources are available for students of literary studies?
Books and academic journals
Why are literary studies often combined with cultural or ethnic studies?
The theories of cultural and ethnic studies can give important insight and context to literature.
What is close reading?
Close reading is reading a passage carefully to understand the details and nuance in preparation for creating an analysis.
What year was the Guggenheim Fellowship created?
True or False: The Fellowship has sponsored over 18,000 fine artists, writers, scientists, and scholars.
What are Guggenheim Fellowships?
The Guggenheim Fellowships are grants given to individuals who have demonstrated an exceptional ability to contribute to the arts and science.
About how many Guggenheim Fellowships are given out per year?
Who created the Guggenheim Fellowship?
Senator Simon Guggenheim and his wife, Olga Guggenheim
Who was the John Simon Guggenheim Memorial Foundation created in memory of?
Simon Guggenheim and Olga Guggenheim's son, John Simon, who died at 17
True or False: John Simon Guggenheim was the founder of the Guggenheim Museum Foundation.
True or False: Since its establishment in 1925, the John Simon Guggenheim Memorial Foundation has provided nearly $400 million to creatives, scholars, and scientists.
True or False: Over 125 recipients of the Guggenheim fellows have gone on to become Nobel Prize winners.
Which of the following writers was not a recipient of the Guggenheim Fellowship?
What is the most prestigious literary award?
The Nobel Prize in Literature
During which century did literary awards become popular?
Which of the following do literary awards not typically give authors?
Publishing contracts
Who invented the Nobel Prize?
Alfred Nobel
True or False: Literary awards help distinguish popular fiction from quality fiction.
Which literary award is given out for journalism as well as fiction?
The Pulitzer Prize
The Hugo Award is a literary award for which genre of writers?
Science fiction
Which of the following literary awards is for children's literature?
The John Newbery Medal
True or False: There are numerous types of literary awards for different forms of writing, as well as for different genres, regions, cultures, and subject matter.
Which of the following literary awards is for writers published in the UK and Ireland?
The Booker Prize
What year was the Booker Prize established?
How much is the prize for the best novel worth?
50,000 pounds
True or False: Shortlisted authors also receive a monetary prize.
True or False: The Booker prize nominations must be published in the UK or Ireland.
Which of the following names has the Booker Prize not been known by?
The Man Booker Prize for Fiction
Why is the Booker Prize important for authors?
The Booker Prize is important for authors because the exposure they gain from the prize often significantly increases their book sales. The prize money also gives writers financial support to continue their artistic endeavors.
What was the intent of establishing the Booker Prize?
To encourage interest and discussion of contemporary fiction and to make fiction an integral part of British culture.
Which of the following novels did not win the Booker Prize?
True of False: The Booker Prize is not a controversial award.
True or False: The International Booker Prize is written for books translated into English.
What is Granta ?
Granta is a literary magazine based in the United Kingdom.
How often is Granta published?
Quarterly/ four times a year
True or False: Granta only publishes works of fiction.
Which of the following works does Granta not publish?
True or False: Each issue of Granta is based on a theme addressing a particular aspect of life or genre of writing from the perspective of several authors.
What year was Granta first established?
What year was Granta revived to feature writings from the best author's around the world?
What is Granta named after?
The River Granta
At what prestigious university was Granta founded?
Cambridge University
- Literary Elements
- American Short Fiction
- American Literature
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- Study Literature in the US
- What is English Literature?

English Literature is one of the most popular majors in colleges and universities in the US, with a huge number of students enrolling every year due to its diverse nature and numerous graduate opportunities. But with such a broad area of study, prospective students are often confused about what a degree in English Literature actually provides. This article explains what an English Literature degree looks like, and what doors it can open for graduates.
Common uses of an English Literature degree include becoming a writer, researcher, or teacher. However, there are many other ways to utilize an English Literature degree. Some students use it as a stepping stone to a degree in Law, or in this day and age, some will use it to begin a path in the digital marketing world. Whichever route you end up on, this degree can open doors to many fulfilling career options.
What is English Literature at its Very Core?
English Literature refers to the study of texts from around the world, written in the English language. By studying a degree in English Literature, you will learn how to analyze a multitude of texts and write clearly using several different styles. Generally, literature refers to different types of text including novels, non-fiction, poetry, and plays, among other forms. However, literature is a contested term, as new mediums for communication provide different types of contemporary literature.
Literature is generally defined as writing with artistic merit. However, other types of text such as screenplays, nonfiction, song lyrics, and online communication through blogs and other means, could now be considered literature under the contemporary understanding of the term. The English Literature programs in most major US institutions will largely study the traditional literary texts. An English Literature major will likely examine texts including poetry, drama, and prose fiction, perhaps briefly covering more contested forms of literature in their chosen path.
Studying Literature Versus Reading for Pleasure
If you choose to study Literature in the US, you will learn how to read different texts and analyze the style, use of different types of language, and meaning, in depth. You will also learn how to write clearly, concisely and analytically in stylistically different forms. Generally, Literature courses are divided into different focuses: British Literature, American Literature, World Literature, and periods (pre-1800 and post-2000). You will have core courses in several of these topics and will also be expected to choose a focus of your own interest, such as creative writing or drama. You will ultimately gain a much more in-depth understanding of the texts you cover than is possible from solo-reading, and learn how to express your knowledge through written analysis and presentation or class discussion.
Why Study English Literature?
Studying English Literature in the USA will give you a better understanding of the world around you. A Literature degree provides transferable skills that teach you to deconstruct and analyze in order to provide a critical viewpoint in all areas. As an international student, studying English Literature demonstrates to an employer that you have a strong grasp of the English language and are proficient in professional English.
There are several different paths for careers in literature as a graduate. You can also take graduate courses and become a teacher, lecturer, or journalist, with common crossovers for graduating English students including business, law, and education. Or you can use your analytical skills to move into unexpected careers such as marketing, advertising, or pretty much anything you are willing you adapt to. There are also obvious positions available in the publishing industry, from editor, to proofreader, to literary agent. Many creative writers, including novelists, poets, and screenwriters, among others, start their careers by gaining an in-depth understanding of written English before developing their individual abilities for expression through writing.
If you want to gain a strong-hold on the English language, develop your critical analysis of the world around you, and study in a degree that will provide you with numerous different career opportunities, English Literature could be the right pursuit for you.
Learn more about studying literature in the USA by reading our growing article collection.
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The Many Facets Of English Literature
English literature is a field of study that covers a wide variety of texts, including novels, plays, poems, and short stories. It is often divided into two main categories: British literature and American literature. People who study English literature are often called English majors or English literature majors . They may also be called literary critics, literary historians, or literary theorists. English literature is a rich and complex field of study that can be both rewarding and challenging. Those who study it can find themselves immersed in the works of some of the world’s greatest authors, and they can learn to appreciate the beauty and power of language.
What do you call someone who studies English literature? Book and historical texts such as books and documents can be studied in philosophy because they must be investigated in order to establish their authenticity and content. Because English literature is such a broad field, it focuses on analyzing, debating, and assessing it. An English literature degree fosters a sense of inspiration and creativity. By the end of the century, these skills will be required for the global economy to function properly. A literary institution is a place where children learn about literature or humane learning. A critic of literature is someone who writes about literature and analyzes it.
A “scholar” or “humanist” is someone who is knowledgeable about the humanities (literature, philosophy, and art) in general. You’re looking for the word litterateur in your search.
What Is English Literature Student Called?

There is no one definitive answer to this question. English literature students may be called by a variety of terms, depending on the institution they attend and the specific program they are enrolled in. Some common terms used to describe English literature students include English majors, English minors, and English concentrators.
What Is The Study Of English Literature?

English Literature is the study of texts written in English from around the world. You will learn how to analyze texts and write clearly using a variety of styles as you study English literature.
English Literature, Linguistics, and English Teaching are all part of English Studies . As the name suggests, English literature encompasses other genres as well as English. The English literary works focus on a wide range of social aspects, from which they draw inspiration. To know what an English literary work is all about, you must first know how to read and speak the language. Language, according to Merriam-Webster, is defined as a system of spoken or written symbols used by people in a shared culture to communicate with one another. The Oxford Dictionary of Literature defines literature as “writings that express a permanent or universal desire.” According to the digital world glossary, literature is the language, and mobile phones are the message.
Higher education has a lot to offer students in terms of literature, from the simplest to the most difficult. To master English literature, for example, you will need to learn how to speak English well. There is no way to understand an English literary work unless a specific procedure for constructing a sentence is known. The why-what-how balance is required to properly study English literature. From time to time, there are numerous literary works that contain both moral and wisdom lessons. It includes all aspects of society, as well as the lives of people who live in it. According to Brumfit (2001), literature contains a number of essential components that must be understood.
The history of English literature, as well as the literary tradition, genre, western culture, local context, and analysis of literary texts in detail, is an important component of the English Literature knowledge. A critical mind and creative interpretation are also required for English literature, as are reading abilities. As an example, for the study of English Literature, a solid foundation in genre appears to be required before analyzing poetry, prose, or plays. Learning English literature is now part of the Post Modern era, and methods, strategies, and techniques used to do so are also influenced by it. When the awakening of Post Modernism, Feminism, and Post Colonialism occurred, more flexible approaches to studying literature were developed. It would not undermine the literary works simply by shifting methods and strategies if they were well planned and designed. According to LoMonico, singing out Whitman’s Song of Myself and then writing and reciting our own versions are creative approaches to learning about the body and remembering Learners should be supported in discovering knowledge as a fundamental part of the syllabus.
Methods, strategies, and techniques are created to assist learners in the learning process by tailoring them to the content and material. The goal of drama activities is to help learners improve their communication skills, think critically, learn new vocabulary words, and increase their motivation for learning. In a second language classroom, drama can be a valuable tool for improving the four language skills required. As a result of this study, drama teachers should be given clear and adequate materials, as well as teacher training programs. Teachers will be introduced to the Internet in this book, which also includes a collection of classroom activities. This article will give readers an overview of how EFL students reacted to writing fairy tales and poems. Students have tested the activities in this section and discovered that they are both enjoyable and effective. These activities were based on Carter and Long’s (1991), Lazar’s (1993), and Duff and Maley’s 2002 suggestions.
For centuries, English literature has been a form of art. In recent years, it has been used to tell stories that can inspire and make us think, as well as to investigate various aspects of life. It is a fantastic way to enhance your literacy skills by studying English literature. This is not only a great way to expand your knowledge about the world around you, but it is also a great way to learn about the issues that are frequently discussed in literature. If you enjoy reading, you will be swept up in the world of English literature, which is teeming with stories that will keep you enthralled and inspired. It is a form of art that has been used to examine aspects of life and tell stories that can engage us. Taking courses in English literature can help you improve your literacy skills at any level, whether you’re studying for a degree or simply improving your reading comprehension. Furthermore, it can help you learn about the world around you and hone your analytical skills. As a result, English literature is an excellent choice for anyone looking to broaden their horizons and learn more about the world around them.
What Is The Name Of The Person Who Study English?

Add a linguist to your list and share it with others. A linguist is someone who studies language. Linguists study every aspect of language, from vocabulary to grammar to sound, and how words evolve over time.
A person who studies English is referred to as an linguist. The SHARE option can be activated by adding any linguist to the list. Language encompasses a variety of aspects, including vocabulary, grammar, sound, and word development. Students who study literature should be fluent in English. Linguists are those who study linguistics for a specific application. To comprehend the origins and meanings of words, etymology is the study of etymology. Literary enthusiasts, in addition to their literary expertise, are referred to as litterateurs. As role models, English language learners can help educate aspiring linguists.
A Person Who Studies English Is Called What
This person is called an English student or an English learner.
Linguists study the entire linguistic process, from vocabulary to grammar to sound and how words evolve over time. Linguists may work as teachers, journalists, copywriters, editorial assistants, linguists, book publishers, copy-editing, and proofreaders in addition to teaching, journalism, copywriting, editorial assistants, linguists, book publishers, copy-editing, and proofreaders. A person who studies English literature is someone who studies texts written in English. What are Polyglots? The adjective puh-lee-glaht* means “to speak or write in many languages.” On September 11, 2019, the Opacarophile was born. After quitting my comfortable job on Facebook, I launched Global Education to fulfill my dream of educating people all over the world.
A Person Who Writes Literature Is Called
A person who writes books or articles for a living is referred to as an author. If someone is behind something, such as the author of a plan to overthrow the student government, they can also be referred to as the person in charge.
A writer is someone who writes for a living, whether as a novelist or a nonfiction writer. A DVD burner and a DVD writer are the same thing. A ghost writer is an author who writes a book but does not identify himself or herself as the author. A genre is any specific type of art form that is distinct from others, such as literature, painting, music, film, or other types of art. Writers are people who write books, stories, or articles for a living. If you write on a surface, you use a pencil, pen, or other similar object to create words, letters, or numbers. An individual who is creative has the ability to conceive and develop new ideas, especially in the arts.
People who write books, stories, or articles are known as writers. A thriller is a novel, film, or play that tells a compelling fictional story about something as simple as criminal activity or espionage. A symphony is a work that spans a large number of orchestral lines.

Literary Person
A literary person is someone who loves literature and enjoys reading and writing. This person is usually well-read and can discuss various literary works in-depth. He or she may also be a published author or poet. A literary person often has a deep appreciation for language and the power of words.
Literary men are people who are active in the field of literature or writing. Man’s generic meaning is still present in literary English. Metaphors, similes, alliterations, hyperboles, and allegory are just a few of the examples. Literary Techniques, as opposed to Literary Elements, are not an unavoidable part of a literary work. It is critical for a man to let passion drive his decisions. In a man’s life, he relies on his friends, significant others, and family. He goes above and beyond what he says he will do and expects others to do the same. Poetry, fiction, nonfiction, and drama are the four major types of literature.
is educated or has a letter in his or her mouth; he or she is a writer.
English Literature
English literature is a body of work written in the English language by authors who are from or have been influenced by the countries of the British Isles. The main focus of English literature is on the development of the English language, which began with the Anglo-Saxons in the fifth century. The main period of English literature is usually divided into three parts: the Old English period (fifth to eleventh centuries), the Middle English period (twelfth to fourteenth centuries), and the Modern English period (fifteenth to twentieth centuries).
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What is Literature? || Definition & Examples
"what is literature": a literary guide for english students and teachers.
View the full series: The Oregon State Guide to English Literary Terms
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What is Literature? Transcript (English and Spanish Subtitles Available in Video; Click HERE for Spanish Transcript)
By Evan Gottlieb & Paige Thomas
The question of what makes something literary is an enduring one, and I don’t expect that we’ll answer it fully in this short video. Instead, I want to show you a few different ways that literary critics approach this question and then offer a short summary of the 3 big factors that we must consider when we ask the question ourselves.
Let’s begin by making a distinction between “Literature with a capital L” and “literature with a small l.”
“Literature with a small l” designates any written text: we can talk about “the literature” on any given subject without much difficulty.
“Literature with a capital L”, by contrast, designates a much smaller set of texts – a subset of all the texts that have been written.
what_is_literature_little_l.png

So what makes a text literary or what makes a text “Literature with a capital L”?
Let’s start with the word itself. “Literature” comes from Latin, and it originally meant “the use of letters” or “writing.” But when the word entered the Romance languages that derived from Latin, it took on the additional meaning of “knowledge acquired from reading or studying books.” So we might use this definition to understand “Literature with a Capital L” as writing that gives us knowledge--writing that should be studied.
But this begs the further question: what books or texts are worth studying?
For some critics, answering this question is a matter of establishing canonicity. A work of literature becomes “canonical” when cultural institutions like schools or universities or prize committees classify it as a work of lasting artistic or cultural merit.
The canon, however, has proved problematic as a measure of what “Literature with a capital L” is because the gatekeepers of the Western canon have traditionally been White and male. It was only in the closing decades of the twentieth century that the canon of Literature was opened to a greater inclusion of diverse authors.
And here’s another problem with that definition: if inclusion in the canon were our only definition of Literature, then there could be no such thing as contemporary Literature, which, of course, has not yet stood the test of time.
And here’s an even bigger problem: not every book that receives good reviews or a wins a prize turns out to be of lasting value in the eyes of later readers.
On the other hand, a novel like Herman Melville’s Moby-Di ck, which was NOT received well by critics or readers when it was first published in 1851, has since gone on to become a mainstay of the American literary canon.
moby_dick_with_quote.png

As you can see, canonicity is obviously a problematic index of literariness.
So… what’s the alternative? Well, we could just go with a descriptive definition: “if you love it, then it’s Literature!”
But that’s a little too subjective. For example, no matter how much you may love a certain book from your childhood (I love The Very Hungry Caterpillar) that doesn’t automatically make it literary, no matter how many times you’ve re-read it.
Furthermore, the very idea that we should have an emotional attachment to the books we read has its own history that cannot be detached from the rise of the middle class and its politics of telling people how to behave.
Ok, so “literature with a capital L” cannot always by defined by its inclusion in the canon or the fact that it has been well-received so…what is it then? Well, for other critics, what makes something Literature would seem to be qualities within the text itself.
According to the critic Derek Attridge, there are three qualities that define modern Western Literature:
1. a quality of invention or inventiveness in the text itself;
2. the reader’s sense that what they are reading is singular. In other words, the unique vision of the writer herself.
3. a sense of ‘otherness’ that pushes the reader to see the world around them in a new way
Notice that nowhere in this three-part definition is there any limitation on the content of Literature. Instead, we call something Literature when it affects the reader at the level of style and construction rather than substance.
In other words, Literature can be about anything!
what_is_literature_caterpillar.png

The idea that a truly literary text can change a reader is of course older than this modern definition. In the English tradition, poetry was preferred over novels because it was thought to create mature and sympathetic reader-citizens.
Likewise, in the Victorian era, it was argued that reading so-called “great” works of literature was the best way for readers to realize their full spiritual potentials in an increasingly secular world.
But these never tell us precisely what “the best” is. To make matters worse, as I mentioned already, “the best” in these older definitions was often determined by White men in positions of cultural and economic power.
So we are still faced with the question of whether there is something inherent in a text that makes it literary.
Some critics have suggested that a sense of irony – or, more broadly, a sense that there is more than one meaning to a given set of words – is essential to “Literature with a capital L.”
Reading for irony means reading slowly or at least attentively. It demands a certain attention to the complexity of the language on the page, whether that language is objectively difficult or not.
In a similar vein, other critics have claimed that the overall effect of a literary text should be one of “defamiliarization,” meaning that the text asks or even forces readers to see the world differently than they did before reading it.
Along these lines, literary theorist Roland Barthes maintained that there were two kinds of texts: the text of pleasure, which we can align with everyday Literature with a small l” and the text of jouissance , (yes, I said jouissance) which we can align with Literature. Jouissance makes more demands on the reader and raises feelings of strangeness and wonder that surpass the everyday and even border on the painful or disorienting.
Barthes’ definition straddles the line between objectivity and subjectivity. Literature differs from the mass of writing by offering more and different kinds of experiences than the ordinary, non-literary text.
Literature for Barthes is thus neither entirely in the eye of the beholder, nor something that can be reduced to set of repeatable, purely intrinsic characteristics.
This negative definition has its own problems, though. If the literary text is always supposed to be innovative and unconventional, then genre fiction, which IS conventional, can never be literary.
So it seems that whatever hard and fast definition we attempt to apply to Literature, we find that we run up against inevitable exceptions to the rules.
As we examine the many problematic ways that people have defined literature, one thing does become clear. In each of the above examples, what counts as Literature depends upon three interrelated factors: the world, the text, and the critic or reader.
You see, when we encounter a literary text, we usually do so through a field of expectations that includes what we’ve heard about the text or author in question [the world], the way the text is presented to us [the text], and how receptive we as readers are to the text’s demands [the reader].
With this in mind, let’s return to where we started. There is probably still something to be said in favor of the “test of time” theory of Literature.
After all, only a small percentage of what is published today will continue to be read 10, 20, or even 100 years from now; and while the mechanisms that determine the longevity of a text are hardly neutral, one can still hope that individual readers have at least some power to decide what will stay in print and develop broader cultural relevance.
The only way to experience what Literature is, then, is to keep reading: as long as there are avid readers, there will be literary texts – past, present, and future – that challenge, excite, and inspire us.
Interested in more video lessons? View the full series:
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Internet Encyclopedia of Philosophy
Literary theory.
“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
- 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 Augustin Saint 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 . 4 th edition.
- Richter, David H. Ed. The Critical Tradition: Classic Texts and Contemporary Trends . 2 nd 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.
- Beauvoir, Simone de. The Second Sex . Tr. H.M. Parshley. New York: Knopf, 1953.
- Benjamin, Walter. Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken, 1988.
- Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry. New York: Harcourt, 1947.
- Derrida, Jacques. Of Grammatology . Trans. Gayatri C. Spivak. Baltimore: Johns Hopkins, 1976.
- Dubois, W.E.B. The Souls of Black Folk: Essays and Sketches. Chicago: A. C. McClurg & Co., 1903.
- Fish, Stanley. Is There a Text in This Class? The Authority of Interpretive Communities. Harvard, MA: Harvard University Press, 1980.
- Foucault, Michel. The History of Sexuality. Volume 1. An Introduction. Trans. Robert Hurley. Harmondsworth, UK: Penguin, 1981.
- Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage, 1973.
- Gates, Henry Louis. The Signifying Monkey: A Theory of African-American Literary Criticism . New York: Oxford University Press, 1989.
- hooks, bell. Ain’t I a Woman: Black Women and Feminism . Boston: South End Press, 1981.
- Horkheimer, Max and Adorno, Theodor. Dialectic of Enlightenment: Philosophical Fragments . Ed. Gunzelin Schmid Noerr. Trans. Edmund Jephcott. Stanford, CA: Stanford University Press, 2002.
- Irigaray, Luce. This Sex Which Is Not One . Ithaca, NY: Cornell University Press, 1985.
- Jameson, Frederic. Postmodernism: Or the Cultural Logic of Late Capitalism. Durham, NC: Duke University Press, 1999.
- Lacan, Jacques. Ecrits: A Selection. London: Routledge, 2001.
- Lemon Lee T. and Reis, Marion J. Eds. Russian Formalist Criticism: Four Essays. Lincoln, NE: University of Nebraska Press, 1965.
- Lukacs, Georg. The Historical Novel . Trans. Hannah and Stanley Mitchell. Lincoln, NE: University of Nebraska Press, 1962.
- Marcuse, Herbert. Eros and Civilization . Boston: Beacon Press, 1955.
- Nietzsche, Friedrich. The Genealogy of Morals . Trans. Walter Kaufmann. New York: Vintage, 1969.
- Plato. The Collected Dialogues. Ed. Edith Hamilton and Huntington Cairns. Princeton, NJ: Princeton University Press, 1961.
- Proust, Marcel. Remembrance of Things Past. Trans. C.K. Scott Moncrieff and Terence Kilmartin. New York: Vintage, 1982.
- Said, Edward. Orientalism. New York: Pantheon, 1978.
- Sedgwick, Eve Kosofsky. Between Men . Between Men: English literature and Male Homosocial Desire . New York: Columbia University Press, 1985.
- Sedgwick, Eve Kosofsky Epistemology of the Closet . London: Penguin, 1994.
- Showalter, Elaine. Ed. The New Feminist Criticism: Essays on Women, Literature, and Theory . London: Virago, 1986.
- Tompkins, Jane. Sensational Designs : the Cultural Work of American Fiction, 1790- 1860. New York: Oxford University Press, 1986.
- Wellek, Rene and Warren, Austin. Theory of Literature . 3 rd ed. New York: Harcourt Brace, 1956.
- Williams, Raymond. The Country and the City . New York: Oxford University Press, 1973.
Author Information
Vince Brewton Email: [email protected] University of North Alabama U. S. A.
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Why our students study literature.
"Creative writing has been a happy part of my life since I first learned to hold a pencil, so once I chose Gustavus, I considered my career as an English major a given. Perhaps I am a rare bird for that, being so sure of myself so soon. But I could not have anticipated how much I learned about the value of reading, in every area of life, through the English major; nor did I see its potential to shape me as a writer. No matter how straight-forward a story may seem, the search for something deeper within it leads to all kinds of insights that, while perhaps not in line with the author's original intent (who knows?), teach you more about the world and the different ways people use language. The theory taught alongside literature, in combination with this analysis, gives you the power of perspective that is so essential to finding contentment and peace in communication with people who are different from you, in a way that is unique to the study of literature. To write you have to read, and to really read, you have to think, criticize, doubt, wonder, and stand amazed by words on the page. The English major showed me how to do that, and not only has it increased my skills as a writer, it has made me a more compassionate and honest person."
— Caitlin Skvorc
"I study literature because I believe there is power in stories. Literature is both intensely personal as well as a communal experience. I love examining how words, sentences, characters, plot-lines and tropes reveal who we are as humans. Humanity is a complicated thing, and requires an infinite amount of words to describe and analyze. That's the joy of studying literature, there is always a new reality to discover."
— Mikaela Warner
"For me, the decision to study literature has been a struggle. Since I was young, I always enjoyed reading and being read to, but I always considered the actual study of literature to be made up; seriously, poets don’t actually try to "invoke" some other work. Literary devices? Some make-believe stuff that people invented to make English seem scientific. Although I enjoyed it, literature, to me, was studied only by those who weren’t smart enough to study something real, something provable. As I understand it, those feelings are not uncommon. The difference for me, though (as compared to some other people I know), is that I grew out of them. I started really looking at rhetorical devices, and the use of language. I started to see that, although it still was not science, it was art, and art is the greatest expression of that which is human."
— David Lick
"As far as my own goals in literature, they are quite simple. Admittedly, part of my fascination is for ‘great ammunition for cocktail parties.’ There is a very attractive element to being able to talk about literature—great characters, famous stories—that I think attracts most people to literature. And it is a good feeling to know a lot about it. However, that is not my greatest concern. Most of all, my goal is to learn as much as I can about the human condition, and what it really means to be human, in all aspects."
"By studying literature I find that this sense of confusion and search for self-discovery is a common theme. I am confident that my choice to be an English major is one that I will be satisfied with. Thus far, in my opinion, to be an English major entails more than just being able to read and write well. An English major must also strive to understand and interpret the importance that various forms of literature have had on the society of the past and the present. Being able to express opinions is another important aspect, as is starting a piece of literature with an open mind. These habits are also important when facing everyday life, not just literature. The chance to read and write is something that everyone should be able to experience. Literature in all forms is everywhere in today’s society, and with this idea, it is clear just how important it is. Whether it is studied in the classroom, read for pleasure or purpose, literature is a central part of many lives. It offers not only a chance to enlighten a person, but it also gives the chance to broaden one’s horizons and perspectives. In my case, having the opportunity to study literature in two different languages has helped me to find similarities in two different cultures, and to also find that although literature varies in form and content, it is important and it is a central part of many lives."
— Stephanie Conroy
"Reading and writing, the basic principles involved in the study of English, serve as the gateway to a deeper level of thought. After mastering these elementary skills, comprehension, analysis, and interpretation are learned and used to better educate ones self. Studying literature and observing personal reactions to the literature can make one more aware of his or her own values. English skills are helpful in every area of life. Reading, writing, comprehension, analysis, and interpretation increase efficiency in multiple ways including communication, documentation in other areas of study, and reflection of personal values. I believe there is no area of study that English and communication skills do not influence."
— Maria Freund
"Reading and writing, in general, are undoubtedly some of the most valuable skills one can have; obviously, having these skills makes is much easier for people to communicate and to participate in society. However, there exists a purpose for reading and writing outside of these immediate practical purposes; the written word can be used to enlighten, to persuade, to express emotion, or simply for enjoyment. In these forms the written word becomes an art form, and a way of reaching out to others through a personal experience between the writer and the reader. Reading is an excellent way to associate oneself with the great minds of history and peer into their own thoughts. Reading is surely one of the most effective ways one can expand oneself."
— Matt Beachey
"Literature is a way in which we can capture and interpret what has happened and is happening to us personally and to the world as a whole. An entire culture exists in the written word, documenting the collective thoughts of everyone who cared to share them with the world. Therefore, I believe that for one to truly be a part of human society, it is critical that one take part in the evolution and self-realization that is literature, even if only in the reading aspect. Writing, however, carries a grave importance, as literature simply would not exist in the accessible form it does without written word, and for that reason I believe all who can write should. One should take advantage of the great opportunity to be part of and contribute to the world and society in which he or she lives through writing. I see literature in the societal sense a collective struggle to understand and make the best of the lives that we have all been given. Literature serves as a way to enrich our minds, and presents a way to improve the world not only through the beauty of its presence but through the ideas and tangible possibilities it possesses."
"The best of my English teachers taught us literature because they wanted the art of it to expand our minds and help teach us new ways of seeing the world. I was taught to both see a work of literature as a way to understand the time it was written, and the people who produced it, and to find the parts of that work that spoke to me in my time and place. While I am skeptical about whether or not anyone can ever really understand a culture or a time prior to their own, I do know that many times literature and art provide insights that cold hard facts do not. Most of all I find that literature makes the differences more manageable, and highlights the similarities between people. I can read a Greek tragedy two thousand years later and agree with things that some older white man was saying because he was a human being, and I am a human being. Although it may sound trite, I have had reading experiences that taught me more about what it means to live in this world."
— Sybylla Yeoman Hendrix
"Not everyone loves reading enough to do it in their spare time, but the people who do are the ones who get the most benefit out of what they read, because they want to be there in that world that literature creates. I have met very intelligent people who do not read. But all of the interesting people I know read, whether or not they are particularly intelligent."
"I read literature for a number of different reasons. Literature is an art full of passion and heart; it transcends the ages. Great literature hits on many different levels. Over the years authors have accomplished unfeasible tasks through the use of their words. Literature has prompted political and social change in societies and continues to do so to this day. It can be a battle cry for the proletariat to rise up and make a difference, and it can also provide personal counsel. Literature sets me free from the responsibilities of this world, and at the same time it ties me down to those same responsibilities. Some literature I read for an escape; to journey to a far away land and go on a grand adventure with creatures beyond my imagination. Other literature has much more serious subject matter, and I read it to remind myself that life isn’t all cupcakes and ice cream."
— Ryan McGinty
"To me, literature is about the obsession with ideas. We read literature to discover and to learn about ideas and we write it to discover and to cultivate our own ideas. No lover-of-ideas can go without either reading or writing. For me, if I go too long without one or the other, I get this huge build up of confused and jumbled ideas that suddenly overcome me and I just have to write them out in some form (philosophic prose, narrative, poetry, scribbled phrases, etc.). That must be why literature can appear in a multitude of forms: be it poetry or prose, the sonnet or the novel, the sestina or the short story, etc. All literature shares the common theme of the idea. Ideas explore, probe, inquire, and inspire. The reactions to such are all that become a part of the learning process. There is a great deal that literature can teach. Literature can teach to the individual and to all of society. It can teach us about the past and the present and even about the future. Subjects can be broad and far-reaching, but can also be specific. Literature teaches us about laughter and love, about remembering and forgetting. It can create emotion and warn us against our many human faults. It can attempt to disprove other ideas or attempt to find truth. I think we are all looking to find truth in some form or another. Oftentimes, the uncertainty of a specific meaning of a piece allows for its interpretation to be for the reader to decide. What is certain, however, is that there are things to be learned from literature that are specific to it, that cannot be attained through any other medium. To gather this knowledge and to experience its beauty all pertain to the importance of literature to me."
— Abby Travis
"Another reason that I enjoy reading so much is the places you can go to when you read. I know that that sounds pretty corny, like something on a PBS commercial, but I feel that there are a vast amount of experiences and people the reader gets to encounter in any work of literature."
— Stefan Kolis
"When I pick up a fantasy novel and fly through it in an hour, I do it for enjoyment, pure and simple. But I read things like The Grapes of Wrath or Heart of Darkness because they are more than just a moment’s diversion. What they contain that dime novels do not is a window into the things that make human beings tick, the methods behind our madness, so to speak. I go through life experiencing different situations and learning from them, but not always being able to put into words exactly what I have learned. I read literature because its function, as I define it, is to illuminate some aspect of the human condition. Not only is the uncovering of these truths significant in and of itself, but the revelation process also provides a common experience through which the reader can relate to every person who has discovered that same truth before him. One way that literature communicates the human condition to readers is that it brings the truths it contains to life."
— Rebekah Schulz
"Although I concede that it is not absolutely necessary to major in English in order to gain perspective from literature, I feel that English is a good lens through which to view the world, both present and past. When I study a great work of literature, I not only gain insight into the universal truth about which the author has chosen to write, but I also, in my attempts to understand, can learn about the culture in which the author lived, the history surrounding the country of his origin, and the various intellectual, political, and artistic movements of the time. Thus the window to humanity that lies at the heart of all literature can act as a sort of connecting portal to the culture surrounding each individual author. The reader stands on the common ground of the universal truth around which a work is constructed – the point at which the reader’s world and the author’s meet – and begins to understand some of the motivations behind the author’s own quest for truth. Once someone has become more experienced in the ways of the world, or in the ways of literature, it falls upon that person to begin to light the way for future explorers. Some may write literary works of their own, using words to illuminate their views on the truth about humanity. Others may decide instead to act as teachers, helping prospective explorers learn to traverse the dense and sometimes bewildering forest of novels they will encounter along their journey. No matter the manner in which people choose to serve, the task itself remains as timeless as the truths that humans have sought for centuries: As the great thinkers and authors of the past have marked out paths in the wilderness for we who have followed them, so we must serve as guides for those who will come after us. Great literature provides its readers with a window into various aspects of the human condition and a guide to the way we, as a species, relate to one another and to our surroundings. Literature gives us a mirror in which to examine our collective reflection as a people. It does not gloss over the pimples and blemishes of humanity, but exposes them quite openly. No concealer, no cover-up, only the truth. Literature is the reflecting pool into which every person that ever existed can look and see both his own face and the faces of all his fellow people. It enables each human to not only find the humanity within his own heart, but also to connect him to the generations of other people who have been doing so since the beginning of time."

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literature , a body of written works. The name has traditionally been applied to those imaginative works of poetry and prose distinguished by the intentions of their authors and the perceived aesthetic excellence of their execution. Literature may be classified according to a variety of systems, including language , national origin, historical period, genre , and subject matter.
For historical treatment of various literatures within geographical regions, see such articles as African literature ; African theatre ; Oceanic literature ; Western literature ; Central Asian arts ; South Asian arts ; and Southeast Asian arts . Some literatures are treated separately by language, by nation, or by special subject (e.g., Arabic literature , Celtic literature , Latin literature , French literature , Japanese literature , and biblical literature ).
Definitions of the word literature tend to be circular. The 11th edition of Merriam-Webster’s Collegiate Dictionary considers literature to be “writings having excellence of form or expression and expressing ideas of permanent or universal interest.” The 19th-century critic Walter Pater referred to “the matter of imaginative or artistic literature” as a “transcript, not of mere fact, but of fact in its infinitely varied forms.” But such definitions assume that the reader already knows what literature is. And indeed its central meaning, at least, is clear enough. Deriving from the Latin littera , “a letter of the alphabet,” literature is first and foremost humankind’s entire body of writing; after that it is the body of writing belonging to a given language or people; then it is individual pieces of writing.

But already it is necessary to qualify these statements. To use the word writing when describing literature is itself misleading, for one may speak of “oral literature” or “the literature of preliterate peoples.” The art of literature is not reducible to the words on the page; they are there solely because of the craft of writing. As an art, literature might be described as the organization of words to give pleasure. Yet through words literature elevates and transforms experience beyond “mere” pleasure. Literature also functions more broadly in society as a means of both criticizing and affirming cultural values.

The scope of literature
Literature is a form of human expression. But not everything expressed in words—even when organized and written down—is counted as literature. Those writings that are primarily informative—technical, scholarly, journalistic—would be excluded from the rank of literature by most, though not all, critics. Certain forms of writing, however, are universally regarded as belonging to literature as an art. Individual attempts within these forms are said to succeed if they possess something called artistic merit and to fail if they do not. The nature of artistic merit is less easy to define than to recognize. The writer need not even pursue it to attain it. On the contrary, a scientific exposition might be of great literary value and a pedestrian poem of none at all.
The purest (or, at least, the most intense) literary form is the lyric poem, and after it comes elegiac, epic , dramatic, narrative, and expository verse. Most theories of literary criticism base themselves on an analysis of poetry , because the aesthetic problems of literature are there presented in their simplest and purest form. Poetry that fails as literature is not called poetry at all but verse . Many novels —certainly all the world’s great novels—are literature, but there are thousands that are not so considered. Most great dramas are considered literature (although the Chinese , possessors of one of the world’s greatest dramatic traditions, consider their plays, with few exceptions, to possess no literary merit whatsoever).
The Greeks thought of history as one of the seven arts, inspired by a goddess, the muse Clio. All of the world’s classic surveys of history can stand as noble examples of the art of literature, but most historical works and studies today are not written primarily with literary excellence in mind, though they may possess it, as it were, by accident.
The essay was once written deliberately as a piece of literature: its subject matter was of comparatively minor importance. Today most essays are written as expository, informative journalism , although there are still essayists in the great tradition who think of themselves as artists. Now, as in the past, some of the greatest essayists are critics of literature, drama , and the arts.
Some personal documents ( autobiographies , diaries , memoirs , and letters ) rank among the world’s greatest literature. Some examples of this biographical literature were written with posterity in mind, others with no thought of their being read by anyone but the writer. Some are in a highly polished literary style; others, couched in a privately evolved language, win their standing as literature because of their cogency, insight, depth, and scope.
Many works of philosophy are classed as literature. The Dialogues of Plato (4th century bc ) are written with great narrative skill and in the finest prose; the Meditations of the 2nd-century Roman emperor Marcus Aurelius are a collection of apparently random thoughts, and the Greek in which they are written is eccentric . Yet both are classed as literature, while the speculations of other philosophers, ancient and modern, are not. Certain scientific works endure as literature long after their scientific content has become outdated. This is particularly true of books of natural history, where the element of personal observation is of special importance. An excellent example is Gilbert White’s Natural History and Antiquities of Selbourne (1789).
Oratory , the art of persuasion, was long considered a great literary art. The oratory of the American Indian , for instance, is famous, while in Classical Greece, Polymnia was the muse sacred to poetry and oratory. Rome’s great orator Cicero was to have a decisive influence on the development of English prose style. Abraham Lincoln ’s Gettysburg Address is known to every American schoolchild. Today, however, oratory is more usually thought of as a craft than as an art. Most critics would not admit advertising copywriting, purely commercial fiction , or cinema and television scripts as accepted forms of literary expression, although others would hotly dispute their exclusion. The test in individual cases would seem to be one of enduring satisfaction and, of course, truth. Indeed, it becomes more and more difficult to categorize literature, for in modern civilization words are everywhere. Man is subject to a continuous flood of communication . Most of it is fugitive, but here and there—in high-level journalism, in television, in the cinema, in commercial fiction, in westerns and detective stories, and in plain, expository prose—some writing, almost by accident, achieves an aesthetic satisfaction, a depth and relevance that entitle it to stand with other examples of the art of literature.
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English Language and Literature Degrees
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Whether you’re captivated by Chaucer’s Middle English poetics, obsessed with the colonial subtext in the novels of Joseph Conrad, or take a keen linguistic interest in the rap music of Snoop Dogg, you’ve come to the right place. This guide is all about what to expect from English language and literature degrees , including English topics you may be able to specialize in, opportunities for a journalism career, teaching career, or careers in the arts and humanities sectors, as well as the key skills you will pick up along the way.
- Courses Structure
- English Specializations
What does an English degree cover?
A degree in English language and literature is designed to get you reading books, analyzing theories, critiquing prose and verse, and taking a more critical look at the signs and words surrounding us every day. The aim is to get students thinking creatively and analytically about the English language; this differs from other modern language degrees as it is intended for students already proficient in written and spoken English. An English degree can focus equally on the literature and language sides, while others specialize in one or the other; this will usually be clear from the course title.
A course with a focus on English literature typically allows students to study literary texts from throughout history. Often you’ll start with modules covering a diverse range of literature from different periods; for instance, you could be reading Shakespeare one week and Virginia Woolf the next. Your reading will require you to study and analyze passages, relating texts to their cultural, social, historical and political contexts.
An English language-focused degree will train students to analyze the workings of the English language outside of literature, including language-based communication in all kinds of forms and contexts. This could include analysis of casual spoken conversation, text speak, advertising methods or the uses of language in specialized legal and medical discourse.
Entry requirements
You will often require a high-school or A-level qualification in English language or English literature. Other humanities and arts subjects, such as history and politics, are also looked kindly upon in the admissions process.
Course structure
Those looking to study English will most likely enjoy both independent and group study, but you can expect majority of time spent gaining your English degree to be undertaken solo, as much of the course will require you to commit to long periods of reading and research outside of class.
Because of this you’ll find yourself spending more time working at home or in the library than you will in seminars and lectures. Average hours of contact time with professors and fellow students vary, but you can expect approximately 10-12 hours a week in your first year and slightly longer in your following years as you take on a heavier workload. The rest of the time you are expected to conduct independent study and research for assignments as well as tackling the reading list. This solo work is often intensive, even in university holidays, and can take up around 20-30 hours a week.
As you’d expect, an English literature degree will have a strong focus on canonical and classic literature, meaning one book a week is a pretty average schedule for a single module. Bear in mind however that you will be enrolled on an average of four modules at any one time – not only is passion for literature a must, but also an ability to read fairly quickly. This intensive weekly reading is required for you to engage in criticism and analysis of the texts during lectures and seminars.
Key skills and assessment methods
The study of English literature and language will aim to stretch your independent thought and analytical skills. For this reason, lecturers will not spoon-feed you information but rather expect you to develop your understanding by reading assigned critical theory and journals along with the key texts. Seminars and group discussion provide a setting in which to test your ideas on your fellow students and gain a better understanding through idea sharing and debate.
An English degree is typically assignment-based, with essays and papers to be submitted regularly. Exams are also common, often coming at the end of each year. In some cases you may also be partly assessed based on your contributions to group discussions; the combination of assessment methods used really depends on the institution.
Depending on the country, it will take three or four years to earn a Bachelor of Arts (BA) in English, and a further one or two years to achieve a Master of Arts (MA). You may also be able to combine your studies with a second subject as a dual degree or double major, with popular combinations including English and history, philosophy, education, linguistics or a second language.
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English specializations
The chance to specialize in niche fields is common for those who study an English degree, but often once after completing your first year. This first year is commonly used to teach you basic literary theories and concepts along with a solid grounding in the history of literature and fiction. Shakespeare is also a common compulsory module.
From the second year onwards there will be a wider range of English topics and specializations to choose from, often taught by experts in each field.
Creative writing
Not all universities offer this specialization, but creative writing or other creativity-focused modules are a popular choice amongst undergraduates. This path of study will allow you to continue to analyze and read literature but with the eye of a practiced writer; be that poetry, plays, short stories or novels. The assignments will likely be creative tasks combined with analytical reports of your own work in relation to what you have been reading and researching. Students specializing in creative writing often go on to develop these skills further by studying creative writing at graduate level.
Linguistics
Although linguistics is also offered as a dedicated degree subject , an English degree also offer some linguistics modules. This will involve a deeper look into the way language works and its origins, within a more scientific framework than that commonly used in an English language and literature degree. Linguistics is also multidisciplinary and often calls upon the social sciences, allowing students to study language within the contexts of sociology and psychology. In some cases, students may also have the chance to study original or translated texts in other languages.
Postcolonial literature
The study of postcolonial literature means focusing in on issues of particular relevance to postcolonial writing, such as the construction of national narratives through history, identity and gender, diaspora, and the various debates surrounding postcolonial discourse in academia. Students will get to read a range of important postcolonial literary texts, and to explore postcolonial narratives and interpretations of contemporary culture.
Other English topics and specializations
As well as the above, other English degree specializations can include; 19 th century literature, 20 th century literature, contemporary literature, medieval literature, Caribbean literature, American literature, Shakespeare, modernism, feminism, playwriting and poetry.
All of these topics can be studied to an even greater level of specialization, leading to niche course titles such as Victorian Aestheticism and Decadence (Kent University, UK), Narratives of Magic and Witchcraft (Queen Mary University of London, UK), Literature and the Mind (University of California, Santa Barbara, US) and Jane Austen: Then and Now (University of Sydney, Australia).
Careers with an English degree
As with other arts and humanities subjects, graduates with an English degree go on to pursue careers in a diverse range of roles and sectors. Often English graduates will choose to utilize their strong communication skills, along with their detailed knowledge of the written word. Popular career options for graduates with an English degree include:
Journalism and media careers
Within this wide-ranging and fast-changing industry, journalism and media career opportunities are extremely varied. English graduates are able to use their skills to work within editorial or production within print, online or broadcast media. Editorial roles require a strong attention to detail and good editing skills, while production requires a good eye for design and organization along with great communication skills.
Becoming a journalist is a highly sought-after and competitive career path, and those wishing to pursue a journalism career often invest in further study (such as a Masters in Journalism). With or without postgraduate study, those pursuing the journalism career path should make sure to build a strong portfolio before graduation, either through personal writing, paid work, or substantial contributions to university publications.
Teaching careers
Teaching careers are consistently open to English graduates due to the constant need for teachers around the world, and the high priority given to the subject at primary and secondary levels. However, this usually requires further study in order to gain a teaching qualification.
In the US, although some states require a specific graduate license teach, those who have graduated from a bachelor’s degree fit the minimum requirements so long as practical field experience, such as student teaching, has been undertaken. In countries such as the UK, you’ll need to take a PGCE (Postgraduate Certificate of Education) after your bachelor’s degree. When applying for teaching courses and placements, it will help if you have gained experience of working with children, adolescents or adult learners.
Marketing, advertising and PR careers
As an English degree graduate, you’ll have gained the great communication skills required for marketing, advertising and PR careers . Roles in each of these sectors involve working closely with people, both colleagues and clients, with a strong focus on your target audience. Once you gain some experience in the industry, you’ll have the opportunity to take on account management responsibilities, becoming an expert in how to market a particular product (which could be a sellable item, an individual person, a service or an organization).
Publishing careers
Publishing careers are again wide and varied, spanning book publishing, online publishing, scientific and medical journals, business to business (B2B) and commercial magazine publishing. Within these, common roles for English graduates include writing, researching, editing, sub-editing and copy proofing. A good first step within publishing would be an editorial or production assistant role, which typically involves both daily admin as well as editing and proof reading.
Civil service careers
Again your communication skills and attention to detail will come in handy for civil service careers . These roles are diverse but often will task you with researching and analyzing policy options, drafting material to be used as the basis for new legislation, liaising with external organizations, supporting ministers in government work and helping to manage their departments.
Other careers for English graduates
Other careers you may consider with an English degree include retail management (experience needed), politics, law or law enforcement (further qualifications needed), finance (as long as you have proven numeracy skills), sales, recruitment, library and museum work, academia (further study often required), and even teaching English as a foreign language (TEFL) somewhere far away from home.
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Common skills gained from an English degree include:
- Ability to critique and analyze a broad range of materials
- Ability to communicate ideas and theories
- Awareness of different theoretical schools and approaches to literary criticism
- Leading and participating in discussions
- Ability to work within a team to develop and present ideas
- Excellent written communication skills
- Correct use of academic citations and referencing
- Ability to develop independent understanding of texts, concepts and theories
- Academic research skills
- Ability to work to independently
- Time management and organization skills
- Creative skills
- Essay planning and writing skills
- Basic IT skills
- Knowledge of how language and literature has evolved and trends that have emerged through time

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