In its most specific form, deconstruction is a mode of philosophical and literary analysis, derived from the work of French philosopher, Jacques Derrida, which questions the most basic philosophical categories or concepts.
Since deconstruction has traditionally been an activity based in philosophy, it has required, from the outset, explanation and explication. Indeed, one could argue that deconstruction has to a considerable extent been formed by critical accounts of it. This collection will reprint a cross section of these important works. The result is a set which charts the ways in which deconstruction is conceptualised and demonstrates the impact it has had on a wide range of traditions - areas as diverse as psychoanalysis, law, gender studies and architecture.

With an emphasis on readers and reading, Jonathan Culler considers deconstruction in terms of the questions raised by psychoanalytic, feminist, and reader-response criticism. On Deconstruction is both an authoritative synthesis of Derrida's thought and an analysis of the often-problematic relationship between his philosophical writings and the work of literary critics. Culler's book is an indispensable guide for anyone interested in understanding modern critical thought. This edition marks the twenty-fifth anniversary of the first publication of this landmark work and includes a new preface by the author that surveys deconstruction's history since the 1980s and assesses its place within cultural theory today.

'The brilliance, precision and clarity with which Dr Culler conducts his argument make this a book which all those concerned with the analysis of literature should read.' - A.S. Byatt

This book shows how rhythm constitutes an untapped resource for understanding poetry. Intervening in recent debates over formalism, historicism, and poetics, the authors show how rhythm is at once a defamiliarizing aesthetic force and an unstable concept. Distinct from the related terms to which it's often assimilated-scansion, prosody, meter-rhythm makes legible a range of ways poetry affects us that cannot be parsed through the traditional resources of poetic theory. Rhythm has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice and even identity. Through exploration of rhythm's genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form offering ready-made resources for interpretation. Pressing beyond poetry handbooks' isolated descriptions of technique or inductive declarations of what rhythm "is," the essays ask what it means to think rhythm. Rhythm, the contributors show, happens relative to the body, on the one hand, and to language, on the other-two categories that are distinct from the literary, the mode through which poetics has tended to be analyzed. Beyond articulating what rhythm does to poetry, the contributors undertake a genealogical and theoretical analysis of how rhythm as a human experience has come to be articulated through poetry and poetics. The resulting work helps us better understand poetry both on its own terms and in its continuities with other experiences and other arts. Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins, Haun Saussy

To gain a deeper understanding of the literary movement that has dominated recent Anglo-American literary criticism, The Pursuit of Signs is a must. In a world increasingly mediated, it offers insights into our ways of consuming texts that are both brilliant and bold. Dancing through semiotics, reader-response criticism, the value of the apostrophe and much more, Jonathan Culler opens up for every reader the closed world of literary criticism. Its impact on first publication, in 1981, was immense; now, as Mieke Bal notes, 'the book has the same urgency and acuity that it had then', though today it has even wider implications: 'with the interdisciplinary turn taking hold, literary theory itself, through this book, becomes a much more widespread tool for cultural analysis'.

Has "theory" neglected literature? Often literary and cultural theory, which goes by the nickname "Theory," has seemed to be the theory of everything except literature: theory of language, of sexuality, of history, of the body, of the psyche, of meaning (or meaninglessness), of politics, but not theory of literature.
In this timely and wide-ranging book, Jonathan Culler, whose lucid analyses of structuralism, semiotics, and deconstruction have been prized by generations of readers, explores the place of the literary in theory. If theory has sometimes neglected literature, the literary has, Culler argues, retained a crucial if misunderstood role. Culler's account of the fortunes of the literary in theory, of the resistance to theory, and of key theoretical concepts--text, sign, interpretation, performative, and omniscience--provides valuable insight into today's theoretical debates; and his analysis of various disciplinary practices explores the possibilities of theory for the present and the future.

Is academic writing, particularly in the disciplines of literary theory and cultural studies, needlessly obscure? The claim has been widely circulated in the media and subject to passionate debate, but it has not been the subject of serious discussion. Just Being Difficult? provides learned and thoughtful analyses of the claim, of those it targets, and of the entire question of how critical writing relates to its intended publics and to audiences beyond them. In this book, a range of distinguished scholars, including some who have been charged with willful obscurity, argue for the interest and importance of some of the procedures that critics have preferred to charge with obscurity rather than confront in another way. The debate on difficult writing hovers on the edges of all academic writing that seeks to play a role in the public arena. This collection is a much-needed contribution to the discussion.

''The brilliance, precision and clarity with which Dr Culler conducts his argument make this a book which all those concerned with the analysis of literature should read.' - A.S. Byatt

Umberto Eco, international bestselling novelist and literary theorist, here brings together these two roles in a provocative discussion of the vexed question of literary interpretation. The limits of interpretation - what a text can actually be said to mean - are of double interest to a semiotician whose own novels' intriguing complexity has provoked his readers into intense speculation as to their meaning. Eco's discussion ranges from Dante to The Name of the Rose, Foucault's Pendulum to Chomsky and Derrida, and bears all the hallmarks of his personal style. Three of the world's leading figures in philosophy, literary theory and criticism take up the challenge of entering into debate with Eco on the question of interpretation. Richard Rorty, Jonathan Culler and Christine Brooke-Rose each add a distinctive perspective on this contentious topic, contributing to an exchange of ideas between some of the foremost theorists in the field. The work is intended for students and scholars of literary theory and philosophy (especially semiotics).

With an emphasis on readers and reading, Jonathan Culler considers deconstruction in terms of the questions raised by psychoanalytic, feminist, and reader-response criticism. On Deconstruction is both an authoritative synthesis of Derrida's thought and an analysis of the often-problematic relationship between his philosophical writings and the work of literary critics. Culler's book is an indispensable guide for anyone interested in understanding modern critical thought. This edition marks the twenty-fifth anniversary of the first publication of this landmark work and includes a new preface by the author that surveys deconstruction's history since the 1980s and assesses its place within cultural theory today.

The Flowers of Evil, which T. S. Eliot called the greatest example of modern poetry in any language, shocked the literary world of nineteenth century France with its outspoken portrayal of lesbian love, its linking sexuality and death, its unremitting irony, and its unflinching celebration of the seamy side of urban life. The volume was seized by the police, and Baudelaire and his published were put on trial for offence to public decency. Six offending poems were banned, in a conviction that was not overturned until 1949. This bold new translation, which restores the banned poems to their original places and reveals the full richness and variety of the collection, makes available to English speakers a powerful and original version of the world. Jonathan Culler's Introduction outlines this vision, stressing that Baudelaire is more than just the poet of the modern city. Originally to be called `The Lesbians', The Flowers of Evil contains the most extraordinary body of love poetry. The poems also pose the question of the role of evil in our lives, of whether there are not external forces working to frustrate human plans and to enlist men and women on appalling or stultifying scenarios not of their own making. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Benedict Anderson is best known for his book Imagined Communities: Reflections on the Origin and Spread of Nationalism, one of the most influential works of the last twenty years. Read both by social scientists and humanists, Anderson has thought anew such questions as why people love and die for nations, how religious faith became a territorial issue, the interrelation of capitalism and print, and how forms of nationalism have been adapted and transformed in different situations. This volume includes essays on Anderson's themes and ideas by such scholars as Andrew Parker, Lydia Liu, Doris Sommer, Harry Harootunian, Partha Chatterjee, David Hollinger, and Marc Redfield. Of particular interest is a substantial new essay by Benedict Anderson, written for this volume.

To gain a deeper understanding of the literary movement that has dominated recent Anglo-American literary criticism, The Pursuit of Signs is a must. In a world increasingly mediated, it offers insights into our ways of consuming texts that are both brilliant and bold. Dancing through semiotics, reader-response criticism, the value of the apostrophe and much more, Jonathan Culler opens up for every reader the closed world of literary criticism. Its impact on first publication, in 1981, was immense; now, as Mieke Bal notes, 'the book has the same urgency and acuity that it had then', though today it has even wider implications: 'with the interdisciplinary turn taking hold, literary theory itself, through this book, becomes a much more widespread tool for cultural analysis'.

What is literary theory? Is there a relationship between literature and culture? These are some of questions addressed by Jonathan Culler in this new edition of his highly popular Very Short Introduction. Culler, an extremely lucid commentator and much admired in the field of literary theory, uses easy-to-grasp examples as he outlines the ideas behind schools of criticism that can otherwise be quite daunting, such as deconstruction, semiotics, and postcolonial theory. He explains "theory" not by describing warring "schools" but by sketching key "moves" that theory has encouraged, and by speaking directly about the implications of theory for thinking about literature, human identity, and the power of language.
In this Second Edition, Culler includes much new material, including a discussion of the "death of theory," a look at topics such as trauma theory, ecocriticism, and the link between the theory of narrative and cognitive science, plus a new chapter on "Ethics and Aesthetics." The book also includes updated bibliographies. Shedding light on everything from literature and social identity, to poetry, poetics, and rhetoric, Literary Theory is a welcome guide for all lovers of literature.
About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

This book shows how rhythm constitutes an untapped resource for understanding poetry. Intervening in recent debates over formalism, historicism, and poetics, the authors show how rhythm is at once a defamiliarizing aesthetic force and an unstable concept. Distinct from the related terms to which it’s often assimilated—scansion, prosody, meter—rhythm makes legible a range of ways poetry affects us that cannot be parsed through the traditional resources of poetic theory. Rhythm has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice and even identity. Through exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form offering ready-made resources for interpretation. Pressing beyond poetry handbooks’ isolated descriptions of technique or inductive declarations of what rhythm “is,” the essays ask what it means to think rhythm. Rhythm, the contributors show, happens relative to the body, on the one hand, and to language, on the other—two categories that are distinct from the literary, the mode through which poetics has tended to be analyzed. Beyond articulating what rhythm does to poetry, the contributors undertake a genealogical and theoretical analysis of how rhythm as a human experience has come to be articulated through poetry and poetics. The resulting work helps us better understand poetry both on its own terms and in its continuities with other experiences and other arts. Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins, Haun Saussy

Is academic writing, particularly in the disciplines of literary theory and cultural studies, needlessly obscure? The claim has been widely circulated in the media and subject to passionate debate, but it has not been the subject of serious discussion. Just Being Difficult? provides learned and thoughtful analyses of the claim, of those it targets, and of the entire question of how critical writing relates to its intended publics and to audiences beyond them. In this book, a range of distinguished scholars, including some who have been charged with willful obscurity, argue for the interest and importance of some of the procedures that critics have preferred to charge with obscurity rather than confront in another way. The debate on difficult writing hovers on the edges of all academic writing that seeks to play a role in the public arena. This collection is a much-needed contribution to the discussion.

Has theory neglected literature? Often literary and cultural theory, which goes by the nickname Theory, has seemed to be the theory of everything except literature: theory of language, of sexuality, of history, of the body, of the psyche, of meaning (or meaninglessness), of politics, but not theory of literature. In this timely and wide-ranging book, Jonathan Culler, whose lucid analyses of structuralism, semiotics, and deconstruction have been prized by generations of readers, explores the place of the literary in theory. If theory has sometimes neglected literature, the literary has, Culler argues, retained a crucial if misunderstood role. Culler's account of the fortunes of the literary in theory, of the resistance to theory, and of key theoretical concepts - text, sign, interpretation, performative, and omniscience - provides valuable insight into today's theoretical debates; and his analysis of various disciplinary practices explores the possibilities of theory for the present and the future.

Gerard Genette, a critic of international stature, here builds a systematic theory of narrative upon an analysis of the writings of Marcel Proust, particularly Remembrance of Things Past. Adopting what is essentially a structuralist approach, the author identifies and names the basic constituents and techniques of narrative and illustrates them by referring to literary works in many languages.

From reviews of the first edition?"Academic literary crticism continues to be dominated by 'theory' and the struggle between deconstructionist and humanist approaches to the business of reading. Jonathan Culler's On Deconstruction is a typically patient, thoughtful, illuminating exposition of the ideas of Jacques Derrida and their application to literary studies." David Lodge, Commonwealth"Culler is lucid and thorough, can move into and out of other people's arguments without losing the sense of his own voice and argument, and can manage to seem equally at home with Freudianism, feminism, and traditional literary criticism." Times Literary Supplement"As a practicing critic Culler has always been a deconstructor, and he approaches this topic with special immediacy and force. In On Deconstruction he offers generous summaries of numerous representative articles and a fine annotated bibliography. . . . His magisterial way of tracing particular topics and techniques through our diaspora of critical texts, and his provocative analyses, cannot fail to focus any critic's thinking about deconstruction." Modern Language Quarterly"Gifted with grace and clarity, Culler provides us with a stimulating survey of contemporary literary criticism." Antioch ReviewWith an emphasis on readers and reading, Jonathan Culler considered deconstruction in terms of the questions raised by psychoanalytic, feminist, and reader-response criticism. On Deconstruction is both an authoritative synthesis of Derrida's thought and an analysis of the often-problematic relation between his philosophical writings and the work of literary critics. Culler's book is an indispensable guide for anyone interested in understanding modern critical thought. This edition marks the twenty-fifth anniversary of the first publication of this landmark work and includes a new preface by the author that surveys deconstruction's history since the 1980s and assesses its place within cultural theory today."

Roland Barthes was the leading figure of French Structuralism, the theoretical movement of the 1960s which revolutionized the study of literature and culture, as well as history and psychoanalysis. But Barthes was a man who disliked orthodoxies. His shifting positions and theoretical interests make him hard to grasp and assess. This book surveys Barthes' work in clear, accessible prose, highlighting what is most interesting and important in his work today.

The primary task of literary theory, Jonathan Culler asserts in the new edition of his classic in this field, is not to illuminate individual literary works but to explain the system of literary signification -- the rules and conventions that determine a reader's understanding of a text and that make literary communication possible. In this wide-ranging book, he investigates the possibilities of a semiotics of literature. A new preface places The Pursuit of Signs in the context of major developments in the study of literature since publication of the original Cornell edition in 1981.

With an emphasis on readers and reading, Jonathan Culler considered deconstruction in terms of the questions raised by psychoanalytic, feminist, and reader-response criticism. On Deconstruction is both an authoritative synthesis of Derrida's thought and an analysis of the often-problematic relation between his philosophical writings and the work of literary critics. Culler's book is an indispensable guide for anyone interested in understanding modern critical thought. This edition marks the twenty-fifth anniversary of the first publication of this landmark work and includes a new preface by the author that surveys deconstruction's history since the 1980s and assesses its place within cultural theory today.