{"product_id":"literary-theory-isbn-9781119061755","title":"Literary Theory","description":"\u003ci\u003eLiterary Theory: A Practical Introduction, Third Edition,\u003c\/i\u003e presents a comprehensive introduction to the\u003cbr\u003efull range of contemporary approaches to the study of literature and culture, from formalism, structuralism, and historicism to ethnic, gender, and science studies.\u003cbr\u003e\u003cbr\u003eIntroduces students to a variety of contemporary approaches to the study of literature and culture\u003cbr\u003e\u003cbr\u003eDemonstrates how the varying perspectives on texts can lead to different interpretations of the same work\u003cbr\u003e\u003cbr\u003eFeatures numerous updates that include new literary texts, new and expanded sections\u003cbr\u003e\u003cbr\u003eRepresents the ideal accompaniment to the upcoming Third Edition of \u003ci\u003eLiterary\u003cbr\u003eTheory: An Anthology\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e \u003cp\u003eNote to Teachers x \u003c\/p\u003e \u003cp\u003eLiterary Theory: A Primer 1 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1 Russian Formalism, New Criticism, Poetics 20\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Russian Formalism, New Criticism, Poetics 20 \u003c\/p\u003e \u003cp\u003eExercise 1.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 23 \u003c\/p\u003e \u003cp\u003eExercise 1.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “The Moose” and “At the Fishhouses” 27 \u003c\/p\u003e \u003cp\u003eExercise 1.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 39 \u003c\/p\u003e \u003cp\u003eExercise 1.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Royal Beatings” and “Wild Swans” 42 \u003c\/p\u003e \u003cp\u003eExercise 1.5 The Wachowskis, The Matrix 44 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2 Structuralism, Linguistics, Narratology 48\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Structuralism 48 \u003c\/p\u003e \u003cp\u003eExercise 2.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 58 \u003c\/p\u003e \u003cp\u003eExercise 2.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “The Map” 60 \u003c\/p\u003e \u003cp\u003eExercise 2.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 61 \u003c\/p\u003e \u003cp\u003eExercise 2.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “The Progress of Love” 64 \u003c\/p\u003e \u003cp\u003eExercise 2.5 \u003ci\u003eJohn Ford\u003c\/i\u003e, The Searchers 66 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3 Phenomenology, Reception, Ethics 69\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Phenomenology, Reception, Ethics 69 \u003c\/p\u003e \u003cp\u003eExercise 3.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 72 \u003c\/p\u003e \u003cp\u003eExercise 3.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “The Fish” 74 \u003c\/p\u003e \u003cp\u003eExercise 3.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 74 \u003c\/p\u003e \u003cp\u003eExercise 3.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Material” 77 \u003c\/p\u003e \u003cp\u003eExercise 3.5 \u003ci\u003ePaul Gilroy\u003c\/i\u003e, \u003ci\u003eMichael Clayton \u003c\/i\u003e78 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4 Post-Structuralism 80\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Post-Structuralism 80 \u003c\/p\u003e \u003cp\u003eExercise 4.1\u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 88 \u003c\/p\u003e \u003cp\u003eExercise 4.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “Over 2,000 Illustrations and a Complete Concordance” 98 \u003c\/p\u003e \u003cp\u003eExercise 4.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 101 \u003c\/p\u003e \u003cp\u003eExercise 4.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Differently” 105 \u003c\/p\u003e \u003cp\u003eExercise 4.5 \u003ci\u003eAlfred Hitchcock\u003c\/i\u003e, The Birds and \u003ci\u003eTom Tykwer\u003c\/i\u003e, Run, Lola, Run 109 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5 Psychoanalysis and Psychology 113\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Psychoanalysis and Psychology 113 \u003c\/p\u003e \u003cp\u003eExercise 5.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 120 \u003c\/p\u003e \u003cp\u003eExercise 5.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “Sestina” and “In the Village” 123 \u003c\/p\u003e \u003cp\u003eExercise 5.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 126 \u003c\/p\u003e \u003cp\u003eExercise 5.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Meneseteung” 127 \u003c\/p\u003e \u003cp\u003eExercise 5.5 \u003ci\u003eDavid Lynch\u003c\/i\u003e, Blue Velvet 131 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6 Marxism and Critical Theory 134\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Marxism and Critical Theory 134 \u003c\/p\u003e \u003cp\u003eExercise 6.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 139 \u003c\/p\u003e \u003cp\u003eExercise 6.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “A Miracle for Breakfast” 142 \u003c\/p\u003e \u003cp\u003eExercise 6.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 142 \u003c\/p\u003e \u003cp\u003eExercise 6.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Hired Girl” and “The Beggar Maid” 144 \u003c\/p\u003e \u003cp\u003eExercise 6.5 \u003ci\u003eMike Nichols\u003c\/i\u003e, Working Girl and \u003ci\u003eStanley Kubrick\u003c\/i\u003e, The Shining 147 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7 History 153\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Historical Criticism 153 \u003c\/p\u003e \u003cp\u003eExercise 7.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 155 \u003c\/p\u003e \u003cp\u003eExercise 7.2 \u003ci\u003eMary Shelley\u003c\/i\u003e, Frankenstein 163 \u003c\/p\u003e \u003cp\u003eExercise 7.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 164 \u003c\/p\u003e \u003cp\u003eExercise 7.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Walker Brothers Cowboy” 166 \u003c\/p\u003e \u003cp\u003eExercise 7.5 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “Twelve O’Clock News” 167 \u003c\/p\u003e \u003cp\u003eExercise 7.6 \u003ci\u003eLuis Puenzo\u003c\/i\u003e, The Official Story and \u003ci\u003eSusana Blaustein Munoz\u003c\/i\u003eand\u003ci\u003eLourdes Portillo\u003c\/i\u003e, Las Madres de la Plaza de Mayo 168 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8 Gender Studies 172\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Gender Studies 172 \u003c\/p\u003e \u003cp\u003eExercise 8.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 177 \u003c\/p\u003e \u003cp\u003eExercise 8.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “Roosters,” “In the Waiting Room,” and “Exchanging Hats” 185 \u003c\/p\u003e \u003cp\u003eExercise 8.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 189 \u003c\/p\u003e \u003cp\u003eExercise 8.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “The Love of a Good Woman” and “Lichen” 190 \u003c\/p\u003e \u003cp\u003eExercise 8.5 \u003ci\u003eJonathan Demme\u003c\/i\u003e, The Silence of the Lambs and \u003ci\u003eJenny Livingstone\u003c\/i\u003e, Paris Is Burning 192 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9 Ethnic Studies 198\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Ethnic Studies 198 \u003c\/p\u003e \u003cp\u003eExercise 9.1 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “Faustina, or Rock Roses” 202 \u003c\/p\u003e \u003cp\u003eExercise 9.2 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 204 \u003c\/p\u003e \u003cp\u003eExercise 9.3 \u003ci\u003eToni Morrison\u003c\/i\u003e, The Bluest Eye 205 \u003c\/p\u003e \u003cp\u003eExercise 9.4 NWA, “The Nigga Ya Love To Hate” 207 \u003c\/p\u003e \u003cp\u003eExercise 9.5 \u003ci\u003eJoel Schumacher\u003c\/i\u003e, Falling Down and \u003ci\u003eMathieu Kassovitz\u003c\/i\u003e, Hate 208 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10 Indigenous, Postcolonial, and Transnational Studies 215\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eIntroduction to Indigenous, Postcolonial, and Transnational Studies 215 \u003c\/p\u003e \u003cp\u003eExercise 10.1 \u003ci\u003eJoseph Conrad\u003c\/i\u003e, Heart of Darkness 218 \u003c\/p\u003e \u003cp\u003eExercise 10.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “Brazil, January 1, 1502” and “The Burglar of Babylon” 224 \u003c\/p\u003e \u003cp\u003eExercise 10.3 \u003ci\u003eAlice Munro\u003c\/i\u003e, “The Wilderness Station” 227 \u003c\/p\u003e \u003cp\u003eExercise 10.4 \u003ci\u003eToni Morrison\u003c\/i\u003e, The Bluest Eye 228 \u003c\/p\u003e \u003cp\u003eExercise 10.5 \u003ci\u003eKieran Desai\u003c\/i\u003e, The Inheritance of Loss 228 \u003c\/p\u003e \u003cp\u003eExercise 10.6 \u003ci\u003eLouise Erdrich\u003c\/i\u003e, Love Medicine 230 \u003c\/p\u003e \u003cp\u003eExercise 10.7 \u003ci\u003eDjbril Diop Mambéty\u003c\/i\u003e, Hyenas and \u003ci\u003eHany Abu-Assad\u003c\/i\u003e, Paradise Now 233 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11 Cognition, Emotion, Evolution, Science 236\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Cognition, Emotion, Evolution, Science 236 \u003c\/p\u003e \u003cp\u003eExercise 11.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 240 \u003c\/p\u003e \u003cp\u003eExercise 11.2 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “In the Waiting Room,” “Crusoe in England,” and “One Art” 242 \u003c\/p\u003e \u003cp\u003eExercise 11.3 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 243 \u003c\/p\u003e \u003cp\u003eExercise 11.4 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Fits” 246 \u003c\/p\u003e \u003cp\u003eExercise 11.5 \u003ci\u003eWong Kar-wai\u003c\/i\u003e, In the Mood for Love 247 \u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12 Animals, Humans, Places, Things 250\u003c\/b\u003e \u003c\/p\u003e \u003cp\u003eAn Introduction to Animals, Humans, Places, Things 250 \u003c\/p\u003e \u003cp\u003eExercise 12.1 \u003ci\u003eWilliam Shakespeare\u003c\/i\u003e, King Lear 255 \u003c\/p\u003e \u003cp\u003eExercise 12.2 \u003ci\u003eF. Scott Fitzgerald\u003c\/i\u003e, The Great Gatsby 258 \u003c\/p\u003e \u003cp\u003eExercise 12.3 \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “The Fish” and “Pink Dog” 259 \u003c\/p\u003e \u003cp\u003eExercise 12.4 \u003ci\u003eMary Shelley\u003c\/i\u003e, Frankenstein 261 \u003c\/p\u003e \u003cp\u003eExercise 12.5 \u003ci\u003eAlice Munro\u003c\/i\u003e, “Runaway” and “Vandals” 264 \u003c\/p\u003e \u003cp\u003eExercise 12.6 \u003ci\u003eAgnes Varda\u003c\/i\u003e, Vagabond 266 \u003c\/p\u003e \u003cp\u003eAppendix \u003ci\u003eElizabeth Bishop\u003c\/i\u003e, “In the Village” 268 \u003c\/p\u003e \u003cp\u003eIndex 284\u003c\/p\u003e \u003cb\u003eMichael Ryan\u003c\/b\u003e is Professor of Film and Media Arts at Temple University. His books include \u003ci\u003eMarxism and Deconstruction\u003c\/i\u003e (1982), \u003ci\u003eCamera Politica: The Politics and Ideology of Contemporary American Film\u003c\/i\u003e (with Douglas Kellner, 1986), \u003ci\u003ePolitics and Culture\u003c\/i\u003e (1989), and \u003ci\u003eLiterary Theory: An Anthology\u003c\/i\u003e (3nd edition, edited with Julie Rivkin).","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989536096485,"sku":"NP9781119061755","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781119061755.jpg?v=1761784505","url":"https:\/\/k12savings.com\/products\/literary-theory-isbn-9781119061755","provider":"K12savings","version":"1.0","type":"link"}