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    Peter Barry is a book that presents literary and cultural theory in a systematic, simple and coherent way. The book provides clear explanations and demonstrations of 12 important critical and cultural theories, the main ones include: Structuralism, Post Structuralism, Post Modernism, Psychoanalytic Criticism, Feminism, Lesbian/gay criticism, Marxist criticism, New historicism, Postcolonial Criticism, Stylistics, Narratology and Ecocriticism. Each theory has been explained in a separate chapter and

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    with uncovering genetic and teleological content in the transformations of history. The event which the essay documents is that of a definitive epistemological break with structuralist thought, of the ushering in of post-structuralism as a movement critically engaging with structuralism, but also traditional humanism and empiricism – here it becomes the “structurality of structure” (278) itself which begins to be thought. Immediately however, Derrida notes that he is not presuming to place himself

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    Structuralism as a Literary Movement

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    Structuralism as a literary movement first emerged in the 1960s in the field of linguistics. It expanded to other areas of studies as well by philosophers such as Louis Althusser in Marxist theory, Roland Barthes in literary studies, Jacques Lacan in psychoanalysis, Gerard Genette in narratology, and Claude Levi-Strauss in anthropology. This paper focuses on Strauss’s Structure and Dialectics, Genette’s Five Types of Transtextuality, and Barthes’s The Death of the Author. Also, Mary

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    Marxism Essay

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    of language, where when structure is applied, the work disappears and all that’s left is the text to conceptualize. As related to structuralism and in so far as literature is moved from work to text, it is caught up in the play of differences that constitutes language. Text is not a thing, but rather language, which is a set of relationships you get from structuralism. There relationships create a methodological field where actions need to be activated, where demonstration is the tracing of such

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    'the struggle of thought against ideocracy.' I then suggest a classification of main trends in Russian thought of this period: (1) Dialectical materialism in its evolution from late Stalinism to neo-communist mysticism; (2) Neorationalism and Structuralism; (3) Neo-Slavophilism, or the Philosophy of National Spirit; (4) Personalism and Liberalism; (5) Religious Philosophy and Mysticism, both Christian Orthodox and Non-Traditional; (6) Culturology or the Philosophy of Culture; (7) Conceptualism or

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    assumption of post-structuralism holds that “persons are culturally and discursively structured, created in interaction as situated, symbolic beings.” In accordance with this idea that people are created by their culture and in their interactions, both Lolita and Humbert have different personalities in different situations and circumstances. However, they ultimately show a more continuous and profound self-existence than just as faces created in their various interactions. Post-structuralism is a theory

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    Fuller's Leila

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    poems are caught in a web of historical conditions, relationships, and influences."[1] Such an introspective framework ultimately contributes to a wide variety of conceptualizations in literary analysis; such as Marxism, Feminist criticism, and post-structuralism. This attempt to contextualize literary works in a historical manner is also supplemental to more conventional types of literary analysis such as deconstructionism. New historicism, however, tends to be representative of a postmodern project

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    The Horizons of Theory: Jameson, Marxism, and Poststructuralism Fredric Jameson's The Political Unconscious is a work which crosses theories' boundaries, which walks (or polices?) Marxism's border on poststructuralism. It may easily be read as a refutation of poststructuralism, or as an embrace of it; as a flight from Marxism (though under its own banner), or as its theoretical redemption – this is not a contradiction (we might read Jameson as replying), but a dialectical, productive exploration

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    Barthes' argument in The Death of the Author

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    The Function of Subject as Signified Barthes’ argument in The Death of the Author, as it is clarified by the structuralist approach of Ferdinand de Saussure and the manifestations of his linguistic system adapted by Jacques Lacan and Jacques Derrida, is composed of an ultimate dismissal of the signification of a text in favor of the ratification of the function of the subject. Once this function is ascertained, Barthes shifts his impetus to the antiquation of the author’s place in general

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    That is to say, concepts such as “human nature” are not really ostensible, stable facts of how the world “really is,” but are contingent on the above factors. Essentially, deconstruction looks into how knowledge is produced. In contrast, the structuralism popular in 1950s and 1960s France focused on the study of the structure of cultural products interpreted through linguistic frameworks. It was essentially a synchronic practice that attempted to analyses cultural products as objectively and scientifically

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