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• Introduction: the textualization of judgment
• 1. Criticism and the institutions of drama, 1645-75
• 2. Politics of Parnassus
• 3. Women among critics
• 4. Criticism and the poetry of Anne Finch
• 5. Disciplining the dunces: literary knowledge in The Dunciad Variorum
• 6. Boswell and Co.: conversation and criticism in the age of print
• Bibliography.
• (source: Nielsen Book Data)

Early literary criticism was undisciplined. Unlike the staid essays and monographs of later academic scholarship, English criticism first appeared in the contentious world of the London theater: dramatists and other poets argued about their craft in contending prefaces and dedications, and their disputes spilled into the public sphere in pamphlet wars, mock epics, lampoons, and even novels. Across these forms, criticism was personal, political, and unconcerned with analysis for its own sake. Yet this unruly discourse laid the groundwork both for modern literary criticism and for the discipline of literary studies. The Invention of English Criticism explores the earliest uses of criticism and the attempts by some to convert a field of literary debate into an archive of useful knowledge. Criticism's undisciplined past thus illuminates its contested, ambivalent, and never fully disciplined present.
(source: Nielsen Book Data)

• The Hussites: a pre-history of ACLALS 1945-64 / Robert T. Robertson
• Commonwealth studies in the United States ; A. L. McLeod
• Something a colonial can manage / G. D. Killam
• How with the help of Derry Jeffares I (an American) became a Commonwealth literature specialist / Bruce King
• Commonwealth literature: the state of affairs in Germany / Gerhard Stilz
• Why Aarhus? / Anna Rutherford
• The trodden path & the way ahead / Doireann Macdermott
• Nothing by chance: a personal tribute / Alastair Niven
• New literatures on the curriculum / Louis James
• Commonwealth literature at Hull / Arthus Pollard
• The Commonwealth Centre at Mysore University / H. H. Anniah Gowda
• The Commonwealthe literature period: a note towards the history of Indian English literature / G. N. Devi
• Commonwealth/New literatures in a small corner of Asia / Edwin Thumboo
• Beyond the coups: the writer and Fiji / Satendra Nandan
• Doing good by stealth / Ken Goodwin
• Growing up in Jamaica / John J. Figueroa.

• New approaches to the new literatures in English: are we in danger of incorporating disparity? / Diana Brydon
• Reading for resistance in the post-colonial literatures / Stephen Slemon
• 'Lie back and think of England': post-colonial literature and the academy / Helen Tiffin
• Comedy and modern allegory: a personal view / Wilson Harris
• Early black writing in Britain / Paul Edwards
• Footprints on the soul / Colin Nicholson
• A shaping of connections / W. H. New
• Okot's last blast: an attempt at curricular reform in Uganda after Idi Amin / Bernth Lindfors
• Cultural kinetics in an ironic mode: Achebe's A man of the people / Russell McDougall
• Political commitment and poetic utterance: post-independence poetry from Singapore and Malaysia / Kirpal Singh
• Commonwealth literature: problems of response / C. D. Narasimhaiah.

• Truth and the semblance of truth in Sara Banderji's The wedding of Jayanthi Mandel / Iréne Simon
• Memory as survival in the global village: Janet Frame's Carpathians / Jeanne Delbaere
• 'It was so, it was not so' / Jean-Pierre Durix
• The muse's progress: 'infinite rehearsal' in J. M. Coetzee's Foe / Hena Maes-Jelenek
• An elaborate dead end? A feminist reading of Coetzee'e Foe / Kirsten Holst Petersen.

• Statut de la discipline littéraire
• Comment faut-il appeler notre domaine de recherches ?
• L'objet littéraire et l'objet littérature
• La dimension épistémique des études littéraires
• Épistémologie et théorie littéraire
• Logiques de l'objet
• Objet et discipline
• Au carrefour de nos choix
• Perspectives comparatives
• Horizons d'objets
• Description, normativité et valeur
• Lecture, norme et description
• Valeur, objet littérature et objet littéraire
• Du rôle de la valeur dans la communauté (intellectuelle)
• Objet, communauté et territoire
• Des valeurs et du relativisme
• Texte littéraire, discipline littéraire et sciences humaines et sociales
• Croisements disciplinaires et productivité savante
• La discipline littéraire, lieu de savoir social
• La notion d'enquête revisitée
• Horizons disciplinaires : vers où nous mène l'interdisciplinarité ?
• Les moyens du discours : la scientificité de la discipline littéraire
• Le statut du paradigme
• L'incorporation des données
• L'enquêteur : le mode d'énonciation
• Sur quel registre se positionne la discipline littéraire ?
• Registre, norme, démonstration
• Émotions et imagination scientifiques
• Clôture : dès demain, l'aube
• Annexe. Chronique d'une "crise"
• Anatomie d'un présent
• Au-delà de la notion de crise
• Les sciences sociales au pays des littéraires.

"Comment se produit le savoir dans la discipline littéraire ? De quel type de savoir s'agit-il ? Comment interagit-t-il avec les productions d'autres domaines ? Sont ici étudiées les conditions de possibilité d'une épistémologie de la discipline littéraire. Si de nombreuses disciplines des sciences humaines et sociales ont développé ce type de réflexion, les théoriciens de la littérature se sont en revanche concentrés essentiellement sur les enjeux internes à leur champ d'études. Or, depuis au moins une décennie, l'évolution de l'objet littérature, les transformations radicales de son statut dans la société, l'éclatement et la multiplication des approches critiques, ont mis à l'épreuve la logique de la discipline, allant jusqu'à faire basculer les principes sur lesquels elle repose et ses réalisations institutionnelles. En envisageant quelques-uns des enjeux essentiels de la littérature à partir d'une perspective épistémologique, l'objectif de cet ouvrage est de mieux appréhender son présent et de penser son implantation future dans la constellation disciplinaire."--Page 4 of cover.

• De los géneros literarios a los géneros discursivos
• El texto como construcción : procedimientos
• El texto situado : contexto/s.

• Preface.- Introduction: The Origins of an Intellectual Taboo.- Chapter One: Actions, Intentions, Authors, Works.- Chapter Two: Uncertainty, Indeterminacy, Omniscience, and Other Matters.- Chapter Three: Unconscious Intentions.- Chapter Four: Authorship and Literary Value.- Conclusion.-.
• (source: Nielsen Book Data)

This book explores the logic and historical origins of a strange taboo that has haunted literary critics since the 1940s, keeping them from referring to the intentions of authors without apology. The taboo was enforced by a seminal article, "The Intentional Fallacy, " and it deepened during the era of poststructuralist theory. Even now, when the vocabulary of "critique" that has dominated the literary field is under sweeping revision, the matter of authorial intention has yet to be reconsidered. This work explains how "The Intentional Fallacy" confused different kinds of authorial intentions and how literary critics can benefit from a more up-to-date understanding of intentionality in language. The result is a challenging inventory of the resources of literary theory, including implied readers, poetic speakers, omniscient narrators, interpretive communities, linguistic indeterminacy, unconscious meaning, literary value, and the nature of literature itself.
(source: Nielsen Book Data)

This is an exploration of the possibilities of letting go of our inner desire for control. Without Mastery constantly engages the pleasure, rigour and strangeness of reading, invoking the forcefulness of the Weird Sisters, Plato's Lady Necessity and assorted literary animals, angels, ghosts and children to explore the inner workings of our desire for mastery, and especially the omnipotence of thoughts. For Sarah Wood the thought of Derrida, Freud, Cixous, Plato and others is a kind of dramatic interaction, a message to be received emotionally and responded to inventively in writing that is both critical and creative. The destructiveness of masterful thinking has brought the planet into environmental crisis and continues to deny the facts. Reading, this book makes clear, teaches us to engage with the unthinkable. It provides a challenge and an alternative to 'masterful' or technical approaches to theory. It demonstrates that writing and power can work productively together. It draws on the power of poetry and fiction to help us think and puts this to work in the book's own practice of creative critical writing. It presents original new readings of canonical literary writers.
(source: Nielsen Book Data)

"Myths do not flow through the pipes of history, " writes Viktor Shklovsky, "they change and splinter, they contrast and refute one another. The similar turns out to be dissimilar." Published in Moscow in 1970 and appearing in English translation for the first time, Bowstring is a seminal work, in which Shklovsky redefines estrangement (ostranenie) as a device of the literary comparatist--the "person out of place, " who has turned up in a period where he does not belong and who must search for meaning with a strained sensibility. As Shklovsky experiments with different genres, employing a technique of textual montage, he mixes autobiography, biography, memoir, history, and literary criticism in a book that boldly refutes mechanical repetition, mediocrity, and cultural parochialism in the name of art that dares to be different and innovative. Bowstring is a brilliant and provocative book that spares no one in its unapologetic project to free art from conventionality.
(source: Nielsen Book Data)