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	<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?action=history&amp;feed=atom&amp;title=Literary_Theory_Reading_List</id>
	<title>Literary Theory Reading List - Revision history</title>
	<link rel="self" type="application/atom+xml" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?action=history&amp;feed=atom&amp;title=Literary_Theory_Reading_List"/>
	<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;action=history"/>
	<updated>2026-04-17T12:21:38Z</updated>
	<subtitle>Revision history for this page on the wiki</subtitle>
	<generator>MediaWiki 1.43.8</generator>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484370&amp;oldid=prev</id>
		<title>Anna Auguscik: /* New Historicism */</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484370&amp;oldid=prev"/>
		<updated>2016-10-05T17:53:17Z</updated>

		<summary type="html">&lt;p&gt;&lt;span class=&quot;autocomment&quot;&gt;New Historicism&lt;/span&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 19:53, 5 October 2016&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l155&quot;&gt;Line 155:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 155:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===New Historicism===&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===New Historicism===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Michel Foucault: &amp;#039;&amp;#039;Discipline and Punish&amp;#039;&amp;#039; (1979)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Michel Foucault: &amp;#039;&amp;#039;Discipline and Punish&amp;#039;&amp;#039; (1979)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&#039;&#039;&#039;Stephen Greenblatt&#039;&#039;&#039;: &#039;&#039;&#039;&quot;The Improvisation of Power&quot; &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;(1980)&lt;/del&gt;&#039;&#039;&#039;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;; &#039;&#039;&#039;&#039;&#039;Renaissance Self-Fashioning&#039;&#039; &lt;/del&gt;(1980)&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&#039;&#039;&#039;Stephen Greenblatt&#039;&#039;&#039;: &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;Renaissance Self-Fashioning&#039;&#039; [&lt;/ins&gt;&#039;&#039;&#039;&quot;The Improvisation of Power&quot;&#039;&#039;&#039;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;] &lt;/ins&gt;(1980)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Louis Adrian Montrose: &amp;quot;&amp;#039;Eliza, Queene of Shepheardes&amp;#039; and the Pastoral of Power&amp;quot; (1980); &amp;quot;Renaissance Literary Studies and the Subject of History&amp;quot; (1986)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Louis Adrian Montrose: &amp;quot;&amp;#039;Eliza, Queene of Shepheardes&amp;#039; and the Pastoral of Power&amp;quot; (1980); &amp;quot;Renaissance Literary Studies and the Subject of History&amp;quot; (1986)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*H. Aram Veeser (Ed): &amp;#039;&amp;#039;The New Historicism&amp;#039;&amp;#039; (1989)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*H. Aram Veeser (Ed): &amp;#039;&amp;#039;The New Historicism&amp;#039;&amp;#039; (1989)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484369&amp;oldid=prev</id>
		<title>Anna Auguscik: /* Marxism */</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484369&amp;oldid=prev"/>
		<updated>2016-10-05T17:51:15Z</updated>

		<summary type="html">&lt;p&gt;&lt;span class=&quot;autocomment&quot;&gt;Marxism&lt;/span&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 19:51, 5 October 2016&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l85&quot;&gt;Line 85:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 85:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&amp;#039;&amp;#039;&amp;#039;Terry Eagleton: &amp;#039;&amp;#039;Marxism and Literary Criticism&amp;#039;&amp;#039; (1976)&amp;#039;&amp;#039;&amp;#039;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&amp;#039;&amp;#039;&amp;#039;Terry Eagleton: &amp;#039;&amp;#039;Marxism and Literary Criticism&amp;#039;&amp;#039; (1976)&amp;#039;&amp;#039;&amp;#039;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Raymond Williams: &amp;#039;&amp;#039;Marxism and Literature&amp;#039;&amp;#039; [&amp;quot;Dominant, Residual and Emergent&amp;quot;; &amp;quot;Structures of Feeling&amp;quot;] (1977)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Raymond Williams: &amp;#039;&amp;#039;Marxism and Literature&amp;#039;&amp;#039; [&amp;quot;Dominant, Residual and Emergent&amp;quot;; &amp;quot;Structures of Feeling&amp;quot;] (1977)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Frederic Jameson: &#039;&#039;The Political Unconscious&#039;&#039; [&quot;On Interpretation&quot;] (1981); &quot;Third-World Literature in the Era of Multinational Capitalism&quot; (1986), &#039;&#039;Postmodernism, or The Cultural Logic of Late Capitalism&#039;&#039; (1991)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;Frederic Jameson&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;: &#039;&#039;The Political Unconscious&#039;&#039; [&quot;On Interpretation&quot;] (1981); &quot;Third-World Literature in the Era of Multinational Capitalism&quot; (1986), &#039;&#039;Postmodernism, or The Cultural Logic of Late Capitalism&#039;&#039; &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;[&#039;&#039;&#039;&quot;The Cultural Logic of Late Capitalism&quot;&#039;&#039;&#039;]&lt;/ins&gt;(1991)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Psychoanalysis, Anthropology===&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Psychoanalysis, Anthropology===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484368&amp;oldid=prev</id>
		<title>Anna Auguscik: /* Feminism, Gender Theory, Queer Studies */</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484368&amp;oldid=prev"/>
		<updated>2016-10-05T14:02:01Z</updated>

		<summary type="html">&lt;p&gt;&lt;span class=&quot;autocomment&quot;&gt;Feminism, Gender Theory, Queer Studies&lt;/span&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 16:02, 5 October 2016&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l167&quot;&gt;Line 167:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 167:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Feminism, Gender Theory, Queer Studies===&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;===Feminism, Gender Theory, Queer Studies===&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Virginia Woolf: &quot;Mr. Bennett and Mrs. Brown&quot; (1924); &#039;&#039;A Room of One&#039;s Own&#039;&#039; (1929)  &lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;Virginia Woolf: &quot;Mr. Bennett and Mrs. Brown&quot; (1924)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;; &#039;&#039;A Room of One&#039;s Own&#039;&#039; (1929)  &lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Simone de Beauvoir: &amp;#039;&amp;#039;The Second Sex&amp;#039;&amp;#039; (1949; engl. 1953)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Simone de Beauvoir: &amp;#039;&amp;#039;The Second Sex&amp;#039;&amp;#039; (1949; engl. 1953)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Susan Sontag: &quot;Notes On &#039;Camp&#039;&quot; (1964); &#039;&#039;Against Interpretation and Other Essays&#039;&#039; (1966)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;Susan Sontag: &quot;Notes On &#039;Camp&#039;&quot; (1964)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;; &#039;&#039;Against Interpretation and Other Essays&#039;&#039; (1966)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kate Millett: &amp;#039;&amp;#039;Sexual Politics&amp;#039;&amp;#039; (1970) [Ch. 2]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kate Millett: &amp;#039;&amp;#039;Sexual Politics&amp;#039;&amp;#039; (1970) [Ch. 2]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Gayle Rubin: &amp;quot;The Traffic in Women&amp;quot; (1975)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Gayle Rubin: &amp;quot;The Traffic in Women&amp;quot; (1975)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Luce Irigaray: &amp;#039;&amp;#039;Speculum of the Other Woman&amp;#039;&amp;#039; [&amp;quot;The Blind Spot of an Old Dream of Symmetry&amp;quot;]; &amp;#039;&amp;#039;This Sex Which is Not One&amp;#039;&amp;#039; (1977; engl. 1985) [&amp;quot;This Sex Which Is Not One&amp;quot;, &amp;quot;The Power of Discourse and the Subordination of the Feminine&amp;quot;, &amp;quot;The Mechanics of Fluids&amp;quot;, &amp;quot;When Our Lips Speak Together&amp;quot;, &amp;quot;When the Goods Get Together&amp;quot;]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Luce Irigaray: &amp;#039;&amp;#039;Speculum of the Other Woman&amp;#039;&amp;#039; [&amp;quot;The Blind Spot of an Old Dream of Symmetry&amp;quot;]; &amp;#039;&amp;#039;This Sex Which is Not One&amp;#039;&amp;#039; (1977; engl. 1985) [&amp;quot;This Sex Which Is Not One&amp;quot;, &amp;quot;The Power of Discourse and the Subordination of the Feminine&amp;quot;, &amp;quot;The Mechanics of Fluids&amp;quot;, &amp;quot;When Our Lips Speak Together&amp;quot;, &amp;quot;When the Goods Get Together&amp;quot;]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hélène Cixous: &amp;quot;The Laugh of the Medusa&amp;quot;; &amp;quot;Sorties: Out &amp;amp; Out: Attacks/Ways Out/Forays&amp;quot;; with Catherine Clément: &amp;#039;&amp;#039;The Newly Born Woman&amp;#039;&amp;#039;&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hélène Cixous: &amp;quot;The Laugh of the Medusa&amp;quot;; &amp;quot;Sorties: Out &amp;amp; Out: Attacks/Ways Out/Forays&amp;quot;; with Catherine Clément: &amp;#039;&amp;#039;The Newly Born Woman&amp;#039;&amp;#039;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Barbara Smith: &quot;Towards a Black Feminist Criticism&quot; (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1977&lt;/del&gt;)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;Barbara Smith: &quot;Towards a Black Feminist Criticism&quot; (&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1978&lt;/ins&gt;)&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Sandra Gilbert and Susan Gubar: &amp;#039;&amp;#039;The Madwoman in the Attic&amp;#039;&amp;#039; (1979) [Chapters 1-3, 10]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Sandra Gilbert and Susan Gubar: &amp;#039;&amp;#039;The Madwoman in the Attic&amp;#039;&amp;#039; (1979) [Chapters 1-3, 10]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elaine Showalter: &amp;#039;&amp;#039;A Literature of Their Own&amp;#039;&amp;#039; (1977) [Ch. 1, 4, 10]; &amp;quot;Feminist Criticism in the Wilderness&amp;quot; (1980); &amp;#039;&amp;#039;Sexual Anarchy: Gender and Culture at the Fin the Siècle&amp;#039;&amp;#039; (1992)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elaine Showalter: &amp;#039;&amp;#039;A Literature of Their Own&amp;#039;&amp;#039; (1977) [Ch. 1, 4, 10]; &amp;quot;Feminist Criticism in the Wilderness&amp;quot; (1980); &amp;#039;&amp;#039;Sexual Anarchy: Gender and Culture at the Fin the Siècle&amp;#039;&amp;#039; (1992)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l181&quot;&gt;Line 181:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 181:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Eve Kosofsky Sedgwick: &amp;#039;&amp;#039;Between Men: English Literature and Male Homosocial Desire&amp;#039;&amp;#039; (1985); &amp;#039;&amp;#039;Epistemology of the Closet&amp;#039;&amp;#039; (1990) [&amp;quot;Axiomatic&amp;quot;]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Eve Kosofsky Sedgwick: &amp;#039;&amp;#039;Between Men: English Literature and Male Homosocial Desire&amp;#039;&amp;#039; (1985); &amp;#039;&amp;#039;Epistemology of the Closet&amp;#039;&amp;#039; (1990) [&amp;quot;Axiomatic&amp;quot;]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hazel Carby, &amp;#039;&amp;#039;Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist&amp;#039;&amp;#039; [Chapter 1] (1987)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Hazel Carby, &amp;#039;&amp;#039;Reconstructing Womanhood: The Emergence of the Afro-American Woman Novelist&amp;#039;&amp;#039; [Chapter 1] (1987)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Judith Butler: &#039;&#039;Gender Trouble: Feminism and the Subversion of Identity&#039;&#039; (1993; esp. &quot;Subjects of Sex/Gender/Desire&quot;); &#039;&#039;Bodies That Matter: On the Discursive Limits of &quot;Sex&quot;&#039;&#039; (1993)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Donna Haraway: &#039;&#039;The Biopolitics of Postmodern Bodies&#039;&#039; (1989)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*&#039;&#039;&#039;&lt;/ins&gt;Judith Butler&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;: &#039;&#039;Gender Trouble: Feminism and the Subversion of Identity&#039;&#039; (1993; esp. &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;&quot;Subjects of Sex/Gender/Desire&quot;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&#039;&lt;/ins&gt;); &#039;&#039;Bodies That Matter: On the Discursive Limits of &quot;Sex&quot;&#039;&#039; (1993)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Christopher Castiglia: &amp;quot;Rebel Without a Closet&amp;quot; (1990)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Christopher Castiglia: &amp;quot;Rebel Without a Closet&amp;quot; (1990)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Wayne Koestenbaum: &amp;#039;&amp;#039;Engendering Men: The Question of Male Feminist Criticism&amp;#039;&amp;#039; (1990)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Wayne Koestenbaum: &amp;#039;&amp;#039;Engendering Men: The Question of Male Feminist Criticism&amp;#039;&amp;#039; (1990)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484367&amp;oldid=prev</id>
		<title>Anna Auguscik at 13:24, 5 October 2016</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484367&amp;oldid=prev"/>
		<updated>2016-10-05T13:24:17Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 15:24, 5 October 2016&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l15&quot;&gt;Line 15:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 15:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Pierre Bourdieu, &amp;quot;The Field of Cultural Production, or: The Economic World Reversed&amp;quot; (1983)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Pierre Bourdieu, &amp;quot;The Field of Cultural Production, or: The Economic World Reversed&amp;quot; (1983)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Frederic Jameson, &amp;quot;The Cultural Logic of Late Capitalism&amp;quot; (1984)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Frederic Jameson, &amp;quot;The Cultural Logic of Late Capitalism&amp;quot; (1984)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Judith Butler, &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&#039;&#039;&lt;/del&gt;Gender &lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;Trouble&#039;&#039; &lt;/del&gt;(1990)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Judith Butler, &lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&quot;Subjects of Sex/&lt;/ins&gt;Gender&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;/Desire&quot; &lt;/ins&gt;(1990)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kwame Anthony Appiah: &amp;quot;Is the &amp;#039;Post-&amp;#039; in &amp;#039;Postcolonial&amp;#039; the &amp;#039;Post-&amp;#039; in &amp;#039;Postmodern&amp;#039;?&amp;quot; (1991)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Kwame Anthony Appiah: &amp;quot;Is the &amp;#039;Post-&amp;#039; in &amp;#039;Postcolonial&amp;#039; the &amp;#039;Post-&amp;#039; in &amp;#039;Postmodern&amp;#039;?&amp;quot; (1991)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l210&quot;&gt;Line 210:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 210:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Simon Eliot, Andrew Nash, and Ian Willison: &amp;#039;&amp;#039;Literary Cultures and the Material Book&amp;#039;&amp;#039; (2007)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Simon Eliot, Andrew Nash, and Ian Willison: &amp;#039;&amp;#039;Literary Cultures and the Material Book&amp;#039;&amp;#039; (2007)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Simon Eliot and Jonathan Rose: &amp;#039;&amp;#039;A Companion to the History of the Book&amp;#039;&amp;#039; (2007; repr. 2008)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Simon Eliot and Jonathan Rose: &amp;#039;&amp;#039;A Companion to the History of the Book&amp;#039;&amp;#039; (2007; repr. 2008)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;===Digital Humanities===&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Franco Moretti, &#039;&#039;Graphs, Maps, Trees&#039;&#039; (2007), &#039;&#039;Distant Reading&#039;&#039; (2013)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[[Category:Reading lists|literary theory]]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;[[Category:Reading lists|literary theory]]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484366&amp;oldid=prev</id>
		<title>Anna Auguscik at 12:16, 5 October 2016</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484366&amp;oldid=prev"/>
		<updated>2016-10-05T12:16:28Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;a href=&quot;https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;amp;diff=484366&amp;amp;oldid=484365&quot;&gt;Show changes&lt;/a&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484365&amp;oldid=prev</id>
		<title>Anna Auguscik: /* Long List */</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=484365&amp;oldid=prev"/>
		<updated>2016-10-05T09:50:16Z</updated>

		<summary type="html">&lt;p&gt;&lt;span class=&quot;autocomment&quot;&gt;Long List&lt;/span&gt;&lt;/p&gt;
&lt;a href=&quot;https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;amp;diff=484365&amp;amp;oldid=18114&quot;&gt;Show changes&lt;/a&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=18114&amp;oldid=prev</id>
		<title>Anton Kirchhofer at 16:01, 16 April 2009</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=18114&amp;oldid=prev"/>
		<updated>2009-04-16T16:01:31Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;tr class=&quot;diff-title&quot; lang=&quot;en&quot;&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 18:01, 16 April 2009&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l9&quot;&gt;Line 9:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 9:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Roman Jakobson, &amp;quot;Linguistics and Poetics&amp;quot; (1958)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Roman Jakobson, &amp;quot;Linguistics and Poetics&amp;quot; (1958)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Jacques Derrida, &amp;quot;Structure, Sign, and Play in the Discourse of the Human Sciences&amp;quot; (1966)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Jacques Derrida, &amp;quot;Structure, Sign, and Play in the Discourse of the Human Sciences&amp;quot; (1966)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Roland Barthes, &quot;The Death of the Author&quot; (&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1977&lt;/del&gt;)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Roland Barthes, &quot;The Death of the Author&quot; (&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;1967)&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-deleted&quot;&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Michel Foucault, &quot;What is an Author?&quot; (1968&lt;/ins&gt;)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Edward Said, &amp;quot;The Scope of Orientalism&amp;quot; (1978)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Edward Said, &amp;quot;The Scope of Orientalism&amp;quot; (1978)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;&lt;del style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;*Michel Foucault, &quot;What is an author?&quot; (1980)&lt;/del&gt;&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Stephen Greenblatt, &amp;quot;The Improvisation of Power&amp;quot; (1980)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Stephen Greenblatt, &amp;quot;The Improvisation of Power&amp;quot; (1980)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Pierre Bourdieu, &amp;quot;The Field of Cultural Production, or: The Economic World Reversed&amp;quot; (1983)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Pierre Bourdieu, &amp;quot;The Field of Cultural Production, or: The Economic World Reversed&amp;quot; (1983)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;

&lt;!-- diff cache key wikianglitwiss-wikianglitwiss:diff:1.41:old-16780:rev-18114:php=table --&gt;
&lt;/table&gt;</summary>
		<author><name>Anton Kirchhofer</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=16780&amp;oldid=prev</id>
		<title>Anna Auguscik at 10:57, 18 November 2008</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=16780&amp;oldid=prev"/>
		<updated>2008-11-18T10:57:36Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;col class=&quot;diff-marker&quot; /&gt;
				&lt;col class=&quot;diff-content&quot; /&gt;
				&lt;tr class=&quot;diff-title&quot; lang=&quot;en&quot;&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 12:57, 18 November 2008&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l1&quot;&gt;Line 1:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 1:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;A preliminary list of literary theory and criticism&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;A preliminary list of literary theory and criticism&lt;ins style=&quot;font-weight: bold; text-decoration: none;&quot;&gt;. For a rough overview, see [http://www.uni-oldenburg.de/anglistik/lit-wiss/pre/bm1-lit-theory-timeline-2.pdf bm1-lit-theory-timeline-2.pdf].&lt;/ins&gt;&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;br&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Short List==&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;==Short List==&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=16771&amp;oldid=prev</id>
		<title>Anna Auguscik at 23:42, 17 November 2008</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=16771&amp;oldid=prev"/>
		<updated>2008-11-17T23:42:30Z</updated>

		<summary type="html">&lt;p&gt;&lt;/p&gt;
&lt;table style=&quot;background-color: #fff; color: #202122;&quot; data-mw=&quot;interface&quot;&gt;
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				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;← Older revision&lt;/td&gt;
				&lt;td colspan=&quot;2&quot; style=&quot;background-color: #fff; color: #202122; text-align: center;&quot;&gt;Revision as of 01:42, 18 November 2008&lt;/td&gt;
				&lt;/tr&gt;&lt;tr&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot; id=&quot;mw-diff-left-l163&quot;&gt;Line 163:&lt;/td&gt;
&lt;td colspan=&quot;2&quot; class=&quot;diff-lineno&quot;&gt;Line 163:&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Barbara Smith: &amp;quot;Towards a Black Feminist Criticism&amp;quot; (1977)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Barbara Smith: &amp;quot;Towards a Black Feminist Criticism&amp;quot; (1977)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Sandra Gilbert and Susan Gubar: &amp;#039;&amp;#039;The Madwoman in the Attic&amp;#039;&amp;#039; (1979) [Chapters 1-3, 10]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Sandra Gilbert and Susan Gubar: &amp;#039;&amp;#039;The Madwoman in the Attic&amp;#039;&amp;#039; (1979) [Chapters 1-3, 10]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elaine Showalter: &#039;&#039;A Literature of Their Own&#039;&#039; (1977) [Ch. 1, 4, 10]; &quot;Feminist Criticism in the Wilderness&quot; (1980); &#039;&#039;Sexual Anarchy: Gender and Culture at the Fin the&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Elaine Showalter: &#039;&#039;A Literature of Their Own&#039;&#039; (1977) [Ch. 1, 4, 10]; &quot;Feminist Criticism in the Wilderness&quot; (1980); &#039;&#039;Sexual Anarchy: Gender and Culture at the Fin the Siècle&#039;&#039; (1992)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;Siècle&#039;&#039; (1992)&lt;/div&gt;&lt;/td&gt;&lt;td colspan=&quot;2&quot; class=&quot;diff-side-added&quot;&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Adrienne Rich: &amp;quot;Compulsory Heterosexuality and Lesbian Existence&amp;quot; (1980)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Adrienne Rich: &amp;quot;Compulsory Heterosexuality and Lesbian Existence&amp;quot; (1980)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*bell hooks: &amp;#039;&amp;#039;Ain&amp;#039;t I a Woman: Black Women and Feminism&amp;#039;&amp;#039; (1981)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*bell hooks: &amp;#039;&amp;#039;Ain&amp;#039;t I a Woman: Black Women and Feminism&amp;#039;&amp;#039; (1981)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Eve Kosofsky Sedgwick: &amp;#039;&amp;#039;Between Men: English Literature and Male Homosocial Desire&amp;#039;&amp;#039; (1985); &amp;#039;&amp;#039;Epistemology of the Closet&amp;#039;&amp;#039; (1990) [&amp;quot;Axiomatic&amp;quot;]&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Eve Kosofsky Sedgwick: &amp;#039;&amp;#039;Between Men: English Literature and Male Homosocial Desire&amp;#039;&amp;#039; (1985); &amp;#039;&amp;#039;Epistemology of the Closet&amp;#039;&amp;#039; (1990) [&amp;quot;Axiomatic&amp;quot;]&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;−&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Judith Butler: &#039;&#039;Gender Trouble: Feminism and the Subversion of Identity&#039;&#039; (1989); &#039;&#039;Bodies That Matter: On the Discursive Limits of &quot;Sex&quot;&#039;&#039;(1993)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot; data-marker=&quot;+&quot;&gt;&lt;/td&gt;&lt;td style=&quot;color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Judith Butler: &#039;&#039;Gender Trouble: Feminism and the Subversion of Identity&#039;&#039; (1989); &#039;&#039;Bodies That Matter: On the Discursive Limits of &quot;Sex&quot;&#039;&#039; (1993)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Christopher Castiglia: &amp;quot;Rebel Without a Closet&amp;quot; (1990)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Christopher Castiglia: &amp;quot;Rebel Without a Closet&amp;quot; (1990)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;tr&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Wayne Koestenbaum: &amp;#039;&amp;#039;Engendering Men: The Question of Male Feminist Criticism&amp;#039;&amp;#039; (1990)&lt;/div&gt;&lt;/td&gt;&lt;td class=&quot;diff-marker&quot;&gt;&lt;/td&gt;&lt;td style=&quot;background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;&quot;&gt;&lt;div&gt;*Wayne Koestenbaum: &amp;#039;&amp;#039;Engendering Men: The Question of Male Feminist Criticism&amp;#039;&amp;#039; (1990)&lt;/div&gt;&lt;/td&gt;&lt;/tr&gt;
&lt;/table&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
	<entry>
		<id>https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=16770&amp;oldid=prev</id>
		<title>Anna Auguscik: New page: A preliminary list of literary theory and criticism  ==Short List== 20th century literary theory and criticism *Sigmund Freud, &quot;Fragment of an Analysis of a Case of Hysteria&quot; [Dora] (1905)...</title>
		<link rel="alternate" type="text/html" href="https://wiki.angl-am.uni-oldenburg.de/wiki/index.php?title=Literary_Theory_Reading_List&amp;diff=16770&amp;oldid=prev"/>
		<updated>2008-11-17T23:39:05Z</updated>

		<summary type="html">&lt;p&gt;New page: A preliminary list of literary theory and criticism  ==Short List== 20th century literary theory and criticism *Sigmund Freud, &amp;quot;Fragment of an Analysis of a Case of Hysteria&amp;quot; [Dora] (1905)...&lt;/p&gt;
&lt;p&gt;&lt;b&gt;New page&lt;/b&gt;&lt;/p&gt;&lt;div&gt;A preliminary list of literary theory and criticism&lt;br /&gt;
&lt;br /&gt;
==Short List==&lt;br /&gt;
20th century literary theory and criticism&lt;br /&gt;
*Sigmund Freud, &amp;quot;Fragment of an Analysis of a Case of Hysteria&amp;quot; [Dora] (1905)&lt;br /&gt;
*Viktor Shklovsky, &amp;quot;Art as Technique&amp;quot; (1917) &lt;br /&gt;
*T.S. Eliot, &amp;quot;Tradition and the Individual Talent&amp;quot; (1919)&lt;br /&gt;
*Mikhail Mikhailovich Bakhtin, &amp;quot;Epic and Novel&amp;quot; (1941)&lt;br /&gt;
*Roman Jakobson, &amp;quot;Linguistics and Poetics&amp;quot; (1958)&lt;br /&gt;
*Jacques Derrida, &amp;quot;Structure, Sign, and Play in the Discourse of the Human Sciences&amp;quot; (1966)&lt;br /&gt;
*Roland Barthes, &amp;quot;The Death of the Author&amp;quot; (1977)&lt;br /&gt;
*Edward Said, &amp;quot;The Scope of Orientalism&amp;quot; (1978)&lt;br /&gt;
*Michel Foucault, &amp;quot;What is an author?&amp;quot; (1980)&lt;br /&gt;
*Stephen Greenblatt, &amp;quot;The Improvisation of Power&amp;quot; (1980)&lt;br /&gt;
*Pierre Bourdieu, &amp;quot;The Field of Cultural Production, or: The Economic World Reversed&amp;quot; (1983)&lt;br /&gt;
*Frederic Jameson, &amp;quot;The Cultural Logic of Late Capitalism&amp;quot; (1984)&lt;br /&gt;
*Judith Butler, &amp;#039;&amp;#039;Gender Trouble&amp;#039;&amp;#039; (1990)&lt;br /&gt;
&lt;br /&gt;
==Long List==&lt;br /&gt;
===Historical===&lt;br /&gt;
*Plato: &amp;#039;&amp;#039;Symposium&amp;#039;&amp;#039; (385 BCE); &amp;#039;&amp;#039;Ion&amp;#039;&amp;#039;; &amp;#039;&amp;#039;Republic&amp;#039;&amp;#039; (380 BC) [Book 3, 10]; &amp;#039;&amp;#039;Phaedrus&amp;#039;&amp;#039; (370 BC)&lt;br /&gt;
*Aristotle: &amp;#039;&amp;#039;Rhetoric&amp;#039;&amp;#039; (4th century BC); &amp;#039;&amp;#039;Poetics&amp;#039;&amp;#039; (350 BC)&lt;br /&gt;
*Plotinus: &amp;#039;&amp;#039;On the Intellectual Beauty&amp;#039;&amp;#039; (c. 270 BC)&lt;br /&gt;
*Horace: &amp;#039;&amp;#039;Ars Poetica, or The Epistle to the Pisones&amp;#039;&amp;#039; (18 BC)&lt;br /&gt;
*St. Augustine: &amp;#039;&amp;#039;De Ordine&amp;#039;&amp;#039;; &amp;#039;&amp;#039;De Musica&amp;#039;&amp;#039;; &amp;#039;&amp;#039;On Christian Doctrine&amp;#039;&amp;#039; (397 CE)&lt;br /&gt;
*Longinus: &amp;#039;&amp;#039;On the Sublime&amp;#039;&amp;#039; (1st century CE)&lt;br /&gt;
*Boethius: &amp;#039;&amp;#039;The Consolation of Philosophy&amp;#039;&amp;#039; (524 CE)&lt;br /&gt;
*Al-Jahiz: &amp;#039;&amp;#039;Kitab al-Bayan wa al-Tabyin (The Book of eloquence and demonstration)&amp;#039;&amp;#039;; &amp;#039;&amp;#039;Kitab al-Hayawan (Book of Animals)&amp;#039;&amp;#039;&lt;br /&gt;
*ibn al-Mu&amp;#039;tazz: &amp;#039;&amp;#039;Kitab al-Badi&amp;#039;&amp;#039;&lt;br /&gt;
*Dante Alighieri: &amp;quot;Letter to Can Grande della Scala&amp;quot;&lt;br /&gt;
*Leonardo da Vinci: &amp;#039;&amp;#039;Notebooks&amp;#039;&amp;#039;&lt;br /&gt;
*Marsilio Ficino: &amp;#039;&amp;#039;Commentary on Plato&amp;#039;s Symposium&amp;#039;&amp;#039;&lt;br /&gt;
*Giovanni Boccaccio: &amp;#039;&amp;#039;The Definition of Poetry&amp;#039;&amp;#039;&lt;br /&gt;
*Christine de Pisan: &amp;quot;Querrelle della Rose&amp;quot;&lt;br /&gt;
*Sir Philip Sidney: &amp;#039;&amp;#039;Defence of Poesie&amp;#039;&amp;#039; (1595)&lt;br /&gt;
*Huet: &amp;#039;&amp;#039;A Treatise of Romances and their Original&amp;#039;&amp;#039; (1672)&lt;br /&gt;
*Nicholas Boileau: &amp;#039;&amp;#039;The Art of Poetry&amp;#039;&amp;#039; (1683)&lt;br /&gt;
*John Dryden: &amp;quot;An Essay of Dramatic Poesy&amp;quot;; &amp;quot;Defense of the Essay of Dramatic Poetry&amp;quot;; &amp;quot;Grounds of Criticism in Tragedy&amp;quot;; &amp;quot;Heads of an Answer to Rymer&amp;quot;; &amp;quot;Parallel Betwixt Poetry and Painting&amp;quot;&lt;br /&gt;
*Alexander Pope: &amp;quot;An Essay on Criticism&amp;quot; (1711); Preface to his edition of Shakespeare; &amp;quot;Peri Bathous, Or the Art of Sinking in Poetry&amp;quot; (1727)&lt;br /&gt;
*Samuel Johnson: &amp;#039;&amp;#039;Rasselas&amp;#039;&amp;#039; [Book 10]; &amp;quot;Life of Cowley&amp;quot;; &amp;quot;Preface to Shakespeare&amp;quot;; &amp;quot;Milton&amp;quot;; &amp;quot;Life of Dryden&amp;quot;; &amp;quot;Life of Pope&amp;quot;; &amp;quot;Life of Gray&amp;quot;&lt;br /&gt;
*Giambattista Vico: &amp;#039;&amp;#039;The New Science&amp;#039;&amp;#039; [Books 1-3]&lt;br /&gt;
*Gotthold Lessing: &amp;#039;&amp;#039;Laocoön&amp;#039;&amp;#039; [Chapters 2,3,16]&lt;br /&gt;
*Edmund Burke: &amp;#039;&amp;#039;A Philosophical Enquiry into Our Ideas of the Sublime and of the Beautiful&amp;#039;&amp;#039; (1757)&lt;br /&gt;
*Jean-Jacques Rousseau: &amp;#039;&amp;#039;Essay on the origin of language&amp;#039;&amp;#039; (1781)&lt;br /&gt;
*Immanuel Kant: &amp;#039;&amp;#039;Critique of Judgement&amp;#039;&amp;#039; [Part I] (1790)&lt;br /&gt;
*Mary A. Wollstonecraft: &amp;#039;&amp;#039;A Vindication of the Rights of Women&amp;#039;&amp;#039; (1792)&lt;br /&gt;
*Friedrich Schiller: &amp;quot;On the Aesthetic Education of Man&amp;quot;; &amp;quot;On Naive and Sentimental Poetry&amp;quot;&lt;br /&gt;
*G.W.F. Hegel: &amp;#039;&amp;#039;Introduction to The Philosophy of Fine Art&amp;#039;&amp;#039; [&amp;quot;Introduction&amp;quot;; &amp;quot;The Master-Slave Relationship&amp;quot;; &amp;quot;Scepticism and the Unhappy Consciousness&amp;quot;; &amp;quot;Spirit in Self-estrangement&amp;quot;; &amp;quot;The Beautiful Soul&amp;quot;]&lt;br /&gt;
*Madame de Stael: &amp;quot;Essay on Fiction&amp;quot;&lt;br /&gt;
*William Wordsworth: Preface to Lyrical Ballads&lt;br /&gt;
*Samuel T. Coleridge: &amp;#039;&amp;#039;Biographia Literaria&amp;#039;&amp;#039; [Chapters 1, 4, 5, 7, 12-15, 17-20]&lt;br /&gt;
*Percy B. Shelley: &amp;#039;&amp;#039;Defense of Poetry&amp;#039;&amp;#039;&lt;br /&gt;
*Victor Hugo: Preface to Cromwell&lt;br /&gt;
*Charles Baudelaire: The Salon of 1859; Painter of Modern Life; &amp;quot;On the Essence of Laughter&amp;quot;&lt;br /&gt;
*Arthur Schopenhauer: &amp;#039;&amp;#039;The World as Will and Representation&amp;#039;&amp;#039; (1819)&lt;br /&gt;
*David Hume: &amp;quot;Of the Standard of Taste&amp;quot;&lt;br /&gt;
*Joseph Addison: &amp;quot;The Pleasures of Imagination&amp;quot; [In: &amp;#039;&amp;#039;Spectator&amp;#039;&amp;#039; Nos. 411-421 (1712)]&lt;br /&gt;
*John Ruskin: &amp;#039;&amp;#039;Modern Painters&amp;#039;&amp;#039; (1843); &amp;#039;&amp;#039;Sesame and Lilies&amp;#039;&amp;#039; (1864-1865); &amp;#039;&amp;#039;Lectures on Art&amp;#039;&amp;#039; (1870)&lt;br /&gt;
*Matthew Arnold: &amp;quot;Science and Poetry&amp;quot;, &amp;quot;Culture and Anarchy&amp;quot;; &amp;quot;The Function of Criticism at the Present Time&amp;quot;; &amp;quot;Preface to Poems&amp;quot; (1853); &amp;quot;Wordsworth&amp;quot;; &amp;quot;Shelley&amp;quot;; &amp;quot;Sweetness and Light&amp;quot;; &amp;quot;Literature and Science&amp;quot;&lt;br /&gt;
*Friedrich Nietzsche: &amp;#039;&amp;#039;The Birth of Tragedy&amp;#039;&amp;#039; (1872); &amp;quot;On Truth and Lies in their Non-Moral Sense&amp;quot;; &amp;#039;&amp;#039;On the Genealogy of Morals&amp;#039;&amp;#039; (1887)&lt;br /&gt;
*Walter Pater: &amp;#039;&amp;#039;The Renaissance&amp;#039;&amp;#039; [&amp;quot;Conclusion&amp;quot;] (1873)&lt;br /&gt;
*Henry James: &amp;quot;The Art of Fiction&amp;quot; (1888); Prefaces to The American, Portrait of a Lady, The Ambassadors&lt;br /&gt;
*Oscar Wilde: &amp;#039;&amp;#039;Intentions&amp;#039;&amp;#039; [&amp;quot;The Critic as Artist&amp;quot;; &amp;quot;The Decay of Lying&amp;quot;] (1891)&lt;br /&gt;
*Stephen Mallarmé: &amp;quot;Crise de vers&amp;quot; (1895)&lt;br /&gt;
*Leo Tolstoy: &amp;#039;&amp;#039;What Is Art?&amp;#039;&amp;#039; (1897)&lt;br /&gt;
*Gertrude Stein: &amp;#039;&amp;#039;Writings and Lectures&amp;#039;&amp;#039; (&amp;quot;Composition as Explanation&amp;quot;, &amp;quot;What Are Masterpieces and Why Are There So Few of Them&amp;quot;, &amp;quot;Poetry and Grammar&amp;quot;); &amp;#039;&amp;#039;The Making of Americans in Selected Writings&amp;#039;&amp;#039; (1934)&lt;br /&gt;
*Erich Auerbach: &amp;#039;&amp;#039;Scenes from the Drama of European Literature&amp;#039;&amp;#039; [&amp;quot;Figura&amp;quot;]; &amp;#039;&amp;#039;Mimesis: The Representation of Reality in Western Literature&amp;#039;&amp;#039; [Chapter 1] (1946)&lt;br /&gt;
*Marcel Proust: &amp;#039;&amp;#039;Contre Sainte-Beuve&amp;#039;&amp;#039; (1954)&lt;br /&gt;
&lt;br /&gt;
===Positivism===&lt;br /&gt;
*Auguste Comte: &amp;quot;Discours sur l&amp;#039;esprit positif&amp;quot; (1844)&lt;br /&gt;
*Hippolyte Adolphe Taine: &amp;#039;&amp;#039;History of English Literature&amp;#039;&amp;#039; [Introduction] (1863)&lt;br /&gt;
*T.H. Huxley: &amp;quot;The Scientific Aspect of Positivism&amp;quot;, &amp;quot;On the Physical Basis of Life&amp;quot; (1869)&lt;br /&gt;
&lt;br /&gt;
===Marxism===&lt;br /&gt;
*Karl Marx: &amp;#039;&amp;#039;The German Ideology&amp;#039;&amp;#039; (1845); &amp;quot;Consciousness Derived from Material conditions&amp;quot;; &amp;quot;The Eighteenth Brumaire of Louis Bonaparte&amp;quot;&lt;br /&gt;
*Georg Lukács: &amp;#039;&amp;#039;Theory of the Novel&amp;#039;&amp;#039; (1916) [Part I, 1-5; Part II, 4]; &amp;#039;&amp;#039;The Historical Novel&amp;#039;&amp;#039; (1937) [Chapter 1]; &amp;quot;Realism in the Balance&amp;quot; (1938)&lt;br /&gt;
*Louis Althusser: &amp;#039;&amp;#039;Reading Capital&amp;#039;&amp;#039; (1965); &amp;quot;Ideology and Ideological State Apparatuses: Notes Toward an Investigation&amp;quot;&lt;br /&gt;
*Walter Benjamin: &amp;#039;&amp;#039;Illuminations&amp;#039;&amp;#039; [&amp;quot;The Work of Art in the Age of Mechanical Reproduction&amp;quot;, &amp;quot;Author as Producer&amp;quot;, &amp;quot;Theses on the Philosophy of History&amp;quot;] (1969, posthumously)&lt;br /&gt;
*Theodor Adorno: &amp;quot;Lyric Poetry and Society&amp;quot; (1974); with Max Horkheimer: &amp;#039;&amp;#039;Dialectic of Enlightenment&amp;#039;&amp;#039; (1944)&lt;br /&gt;
*Raymond Williams: &amp;#039;&amp;#039;Marxism and Literature&amp;#039;&amp;#039; [&amp;quot;Dominant, Residual and Emergent&amp;quot;; &amp;quot;Structures of Feeling&amp;quot;] (1977)&lt;br /&gt;
*Frederic Jameson: &amp;#039;&amp;#039;The Political Unconscious&amp;#039;&amp;#039; [&amp;quot;On Interpretation&amp;quot;] (1981); &amp;#039;&amp;#039;Postmodernism, or The Cultural Logic of Late Capitalism&amp;#039;&amp;#039; (1991)&lt;br /&gt;
&lt;br /&gt;
===Psychoanalysis, Anthropology===&lt;br /&gt;
*Sigmund Freud: &amp;quot;Fragment of an Analysis of a Case of Hysteria&amp;quot; [Dora] (1905); &amp;quot;The Relation of the Poet to Day-Dreaming&amp;quot; (1908); &amp;quot;The Dynamics of Transference&amp;quot; (1912); &amp;quot;Repression&amp;quot; (1915); &amp;quot;From the History of an Infantile Neurosis&amp;quot; [Wolf-Man] (1918); &amp;quot;The Uncanny&amp;quot; (1919); &amp;#039;&amp;#039;Beyond the Pleasure Principle&amp;#039;&amp;#039; (1920); &amp;quot;Medusa&amp;#039;s Head&amp;quot; (1922); &amp;quot;A Note upon the &amp;#039;Mystic Writing-Pad&amp;#039;&amp;quot; (1925); &amp;quot;Fetishism&amp;quot; (1927); &amp;#039;&amp;#039;Civilization and Its Discontents&amp;#039;&amp;#039; (1930); &amp;quot;Femininity&amp;quot; (1933)&lt;br /&gt;
*Carl Gustav Jung: &amp;#039;&amp;#039;Modern Man in Search of a Soul&amp;#039;&amp;#039; [&amp;quot;Psychology and Literature&amp;quot;] (1933)&lt;br /&gt;
*Jacques Lacan: &amp;#039;&amp;#039;Ecrits: A Selection&amp;#039;&amp;#039; [Chapters 1, 5, 8, and 9] (1966); &amp;quot;Seminar on &amp;#039;&amp;#039;The Purloined Letter&amp;#039;&amp;#039;&amp;quot;&lt;br /&gt;
*Julia Kristeva: &amp;#039;&amp;#039;Desire in Language&amp;#039;&amp;#039; [&amp;quot;The Bounded Text&amp;quot;, &amp;quot;Word, Dialogue, and Novel&amp;quot;, &amp;quot;The Novel as Polylogue&amp;quot;] (1969); &amp;#039;&amp;#039;Revolution in Poetic Language&amp;#039;&amp;#039; [&amp;quot;Part 1: The Semiotic and the Symbolic&amp;quot;] (1974); &amp;#039;&amp;#039;Tales of Love&amp;#039;&amp;#039; [&amp;quot;Stabat Mater&amp;quot;] (1983)&lt;br /&gt;
*Shoshana Felman: &amp;quot;To Open The Question&amp;quot; (1977)&lt;br /&gt;
*René Girard: &amp;#039;&amp;#039;Violence and the Sacred&amp;#039;&amp;#039; [Chapters 1 and 2] (1972; engl. 1977); &amp;#039;&amp;#039;Le Bouc émissaire&amp;#039;&amp;#039; (1985)&lt;br /&gt;
*Eric Gans, &amp;#039;&amp;#039;The Origin of Language&amp;#039;&amp;#039; (1981)&lt;br /&gt;
*Slavoj Žižek: &amp;#039;&amp;#039;Interrogating the Real&amp;#039;&amp;#039; (2005)&lt;br /&gt;
&lt;br /&gt;
===(Russian) Formalism===&lt;br /&gt;
*Viktor Shklovsky: &amp;quot;Art as Technique&amp;quot; (1917)&lt;br /&gt;
*Vladimir Propp: &amp;#039;&amp;#039;The Morphology of the Folktale&amp;#039;&amp;#039; (1928)&lt;br /&gt;
*Yurii Tynyanov and Roman Jakobson: &amp;quot;Problems in the Study of Language and Literature&amp;quot; (1928; engl. 1971)&lt;br /&gt;
&lt;br /&gt;
===New Criticism===&lt;br /&gt;
*T.S. Eliot: &amp;quot;Tradition and the Individual Talent&amp;quot; (1919); &amp;quot;The Metaphysical Poets&amp;quot;; &amp;quot;Hamlet and His Problems&amp;quot;&lt;br /&gt;
*I.A. Richards: &amp;#039;&amp;#039;Principles of Literary Criticism&amp;#039;&amp;#039; (1924)&lt;br /&gt;
*F. R. Leavis: &amp;#039;&amp;#039;For Continuity&amp;#039;&amp;#039; [&amp;quot;The Literary Mind&amp;quot;] (1933); &amp;#039;&amp;#039;The Great Tradition&amp;#039;&amp;#039; [&amp;quot;The Great Tradition&amp;quot;] (1948)&lt;br /&gt;
*Kenneth Burke: &amp;#039;&amp;#039;The Philosophy of Literary Form&amp;#039;&amp;#039; [&amp;quot;The Philosophy of Literary Form&amp;quot;] (1939); &amp;#039;&amp;#039;A Grammar of Motives&amp;#039;&amp;#039; [&amp;quot;The Problem of the Intrinsic&amp;quot;, &amp;quot;The Four Master Tropes&amp;quot;] (1945)&lt;br /&gt;
*René Wellek and Austin Warren: &amp;#039;&amp;#039;Theory of Literature&amp;#039;&amp;#039; [Part 1, Chs. 1-4; Part 3, Introduction and Chs. 7-11; Part 4, Introduction and Chs. 12, 17, 18] (1949)&lt;br /&gt;
*W. K. Wimsatt: &amp;#039;&amp;#039;The Verbal Icon&amp;#039;&amp;#039; [Parts 1 and 4] (1954)&lt;br /&gt;
*Wayne Booth: &amp;#039;&amp;#039;The Rhetoric of Fiction&amp;#039;&amp;#039; (1961)&lt;br /&gt;
&lt;br /&gt;
===Structuralism, Semiotics===&lt;br /&gt;
*Roman Jakobson: &amp;#039;&amp;#039;Fundamentals of Language&amp;#039;&amp;#039; [&amp;quot;The Metaphoric and Metonymic Poles&amp;quot;] (1956); &amp;#039;&amp;#039;Style in Language&amp;#039;&amp;#039; [&amp;quot;Linguistics and Poetics&amp;quot; (1958)] (1960)&lt;br /&gt;
*Mikhail Mikhailovich Bakhtin: &amp;#039;&amp;#039;The Dialogic Imagination&amp;#039;&amp;#039; (&amp;quot;Epic and Novel&amp;quot; (1941), &amp;quot;Discourse in the Novel&amp;quot;); &amp;#039;&amp;#039;Problems of Dostoevsky&amp;#039;s Poetics&amp;#039;&amp;#039; [&amp;quot;The Hero, and the Position of the Author with Regard to the Hero in Dostoevsky&amp;#039;s Art&amp;quot;]; &amp;#039;&amp;#039;Speech Genres and Other Late Essays&amp;#039;&amp;#039; [&amp;quot;The Problem of Speech Genres&amp;quot;]&lt;br /&gt;
*Ferdinand de Saussure: &amp;#039;&amp;#039;Course in General Linguistics&amp;#039;&amp;#039; (1916, posthumously)&lt;br /&gt;
*Claude Lévi-Strauss: &amp;#039;&amp;#039;Structural Anthropology&amp;#039;&amp;#039; [&amp;quot;The Structural Study of Myth&amp;quot;; &amp;quot;Four Winnebago Myths&amp;quot;; &amp;quot;History and Dialectic&amp;quot;] (1958)&lt;br /&gt;
*Roland Barthes: &amp;#039;&amp;#039;Mythologies&amp;#039;&amp;#039; (1957) [&amp;quot;Dominici, or the Triumph of Literature&amp;quot;, &amp;quot;Myth Today&amp;quot;]; &amp;#039;&amp;#039;Image, Music, Text&amp;#039;&amp;#039; (1977) [&amp;quot;Introduction to the Structural Analysis of Narratives,&amp;quot; &amp;quot;The Struggle with the Angel&amp;quot;]&lt;br /&gt;
*Umberto Eco: &amp;#039;&amp;#039;Theory of Semiotics&amp;#039;&amp;#039; (1975; engl. 1976)&lt;br /&gt;
*Tzvetan Todorov: &amp;#039;&amp;#039;The Fantastic: A Structural Approach to a Literary Genre&amp;#039;&amp;#039; (1970); &amp;#039;&amp;#039;The Poetics of Prose&amp;#039;&amp;#039; (1971) [&amp;quot;Narrative-Men&amp;quot;, &amp;quot;The Typology of Detective Fiction&amp;quot;, &amp;quot;The Secret of Narrative&amp;quot;]&lt;br /&gt;
*Gérard Genette: &amp;#039;&amp;#039;Narrative Discourse: An Essay in Method&amp;#039;&amp;#039; (1972)&lt;br /&gt;
*Jonathan Culler: &amp;#039;&amp;#039;Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature&amp;#039;&amp;#039; (1975); &amp;#039;&amp;#039;The Pursuit of Signs: Semiotics, Literature, Deconstruction&amp;#039;&amp;#039; [Chapters 1 and 5] (1980)&lt;br /&gt;
*Mary Louise Pratt: &amp;#039;&amp;#039;Towards a Speech Act Theory of Literary Discourse&amp;#039;&amp;#039; (1977)&lt;br /&gt;
*Teresa de Lauretis: &amp;#039;&amp;#039;Alice Doesn&amp;#039;t: Feminism, Semiotics, Cinema&amp;#039;&amp;#039; (1984) [Introduction, Chapters 1, 2, 5, 6]&lt;br /&gt;
&lt;br /&gt;
===Post-Structuralism===&lt;br /&gt;
*Roland Barthes: &amp;#039;&amp;#039;Mythologies&amp;#039;&amp;#039; (1958); &amp;#039;&amp;#039;S/Z&amp;#039;&amp;#039; (1970); &amp;#039;&amp;#039;The Pleasure of the Text&amp;#039;&amp;#039; (1975); &amp;#039;&amp;#039;Image, Music, Text&amp;#039;&amp;#039; [&amp;quot;The Death of the Author&amp;quot;, &amp;quot;From Work to Text&amp;quot;] (1977)&lt;br /&gt;
*Jacques Derrida: &amp;quot;Structure, Sign, and Play in the Discourse of the Human Sciences&amp;quot; (1966); &amp;#039;&amp;#039;Of Grammatology&amp;#039;&amp;#039; (1967) [Part 1, Chs. 1, 2; Part 2, Ch. 2]; &amp;#039;&amp;#039;Margins of Philosophy&amp;#039;&amp;#039; [&amp;quot;Differance&amp;quot;, &amp;quot;White Mythology&amp;quot;, &amp;quot;Signature Event Context&amp;quot;]; &amp;#039;&amp;#039;Writing and Difference&amp;#039;&amp;#039; (1972) [Chapters 1, 2, 7, 9, 10]; &amp;#039;&amp;#039;Disseminations&amp;#039;&amp;#039; (1972) [&amp;quot;Plato&amp;#039;s Pharmacy&amp;quot;, &amp;quot;The Double Seance&amp;quot;, &amp;quot;Hymen&amp;quot;]&lt;br /&gt;
*Michel Foucault: &amp;quot;What is an Author?&amp;quot; (1970); &amp;#039;&amp;#039;The Order of Discourse&amp;#039;&amp;#039; (1971)&lt;br /&gt;
*Deleuze and Guattari: &amp;#039;&amp;#039;Capitalism and Schizophrenia 1: Anti-Oedipus&amp;#039;&amp;#039; (1972); &amp;#039;&amp;#039;Capitalism and Schizophrenia 1: A Thousand Plateaus&amp;#039;&amp;#039; (1980) [&amp;quot;Introduction: Rhizome&amp;quot;)&lt;br /&gt;
*Jean-François Lyotard: &amp;#039;&amp;#039;The Postmodern Condition: A Report on Knowledge&amp;#039;&amp;#039; (1979) [&amp;quot;Answering the Question: What is Postmodernism?&amp;quot;]&lt;br /&gt;
*Jean Baudrillard: &amp;quot;Precession of Simulacra&amp;quot;; &amp;#039;&amp;#039;L&amp;#039;échange symbolique et la mort&amp;#039;&amp;#039; (1976); &amp;#039;&amp;#039;Simulacra and Simulation&amp;#039;&amp;#039; (1981) [&amp;quot;The Process of Simulacra&amp;quot;, &amp;quot;Hypermarket and Hypercommodity&amp;quot;, &amp;quot;The Implosion of Meaning In the Media&amp;quot; and &amp;quot;Clone Story&amp;quot;]&lt;br /&gt;
*Paul de Man: &amp;#039;&amp;#039;Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke, and Proust&amp;#039;&amp;#039; (1979) [&amp;quot;Excuses (&amp;#039;&amp;#039;Confessions&amp;#039;&amp;#039;)&amp;quot;]; &amp;#039;&amp;#039;The Rhetoric of Romanticism&amp;#039;&amp;#039; (1984) [&amp;quot;Autobiography As De-Facement&amp;quot;]&lt;br /&gt;
*Richard Rorty: &amp;#039;&amp;#039;The Consequences of Pragmatism&amp;#039;&amp;#039; (1982) [Introduction, Chapters 6-8]&lt;br /&gt;
*Henry Louis Gates, Jr.: &amp;#039;&amp;#039;The Signifying Monkey: A Theory of African-American Literary Criticism&amp;#039;&amp;#039; (1989)&lt;br /&gt;
&lt;br /&gt;
===Phenomenology, Hermeneutics, Reader Response, Pragmatism===&lt;br /&gt;
*Martin Heidegger: &amp;#039;&amp;#039;Poetry, Language, Thought&amp;#039;&amp;#039; [&amp;quot;Being, Dwelling, Thinking&amp;quot;]; &amp;#039;&amp;#039;Being and Time&amp;#039;&amp;#039; (1927) [sections 31-33]&lt;br /&gt;
*Georges Poulet: &amp;#039;&amp;#039;The Interior Distance&amp;#039;&amp;#039; [&amp;quot;Marivaux&amp;quot;, &amp;quot;Mallarme&amp;quot;]&lt;br /&gt;
*Hans-Georg Gadamer: &amp;#039;&amp;#039;Truth and Method&amp;#039;&amp;#039; [&amp;quot;Foundations of a Theory of Hermeneutical Experience&amp;quot;]&lt;br /&gt;
*E.D. Hirsch: &amp;#039;&amp;#039;Validity in Interpretation&amp;#039;&amp;#039; [&amp;quot;Objective Interpretation&amp;quot;]&lt;br /&gt;
*Paul Ricoeur: &amp;#039;&amp;#039;The Philosophy of Paul Ricoeur&amp;#039;&amp;#039; [Section 3: &amp;quot;Language and Hermeneutics&amp;quot;, Section 4: &amp;quot;Freud and Psychoanalysis&amp;quot;]; &amp;#039;&amp;#039;Hermeneutics and the Human Sciences&amp;#039;&amp;#039; [Part 1: &amp;quot;Studies in the History of Hermeneutics&amp;quot;, Part 2: &amp;quot;Studies in the Theory of Interpretation&amp;quot;, Part 3, Ch. 8: &amp;quot;The Model of the Text&amp;quot;]&lt;br /&gt;
*Norman Holland: &amp;#039;&amp;#039;The Dynamics of Literary Response&amp;#039;&amp;#039; (1968); &amp;#039;&amp;#039;5 Readers Reading&amp;#039;&amp;#039; (1975)&lt;br /&gt;
*Harold Bloom: &amp;#039;&amp;#039;A Map of Misreading&amp;#039;&amp;#039; (1975)&lt;br /&gt;
*Wolfgang Iser: &amp;quot;The Reading Process: A Phenomenological Approach&amp;quot;; &amp;#039;&amp;#039;The Implied Reader&amp;#039;&amp;#039; [Chapter 11]; &amp;#039;&amp;#039;The Act of Reading: : A Theory of Aesthetic Response&amp;#039;&amp;#039; (1978)&lt;br /&gt;
*Stanley Fish: &amp;quot;Interpreting the Variorum&amp;quot;; &amp;#039;&amp;#039;Is There a Text in This Class? The Authority of Interpretive Communities&amp;#039;&amp;#039; (1980)&lt;br /&gt;
*Hans Robert Jauss: &amp;#039;&amp;#039;Towards an Aesthetics of Reception&amp;#039;&amp;#039; [&amp;quot;Literary History as a Challenge to Literary Theory&amp;quot;]&lt;br /&gt;
&lt;br /&gt;
===New Historicism===&lt;br /&gt;
*Michel Foucault: &amp;#039;&amp;#039;Discipline and Punish&amp;#039;&amp;#039; (1979)&lt;br /&gt;
*Stephen Greenblatt: &amp;quot;The Improvisation of Power&amp;quot; (1980); &amp;#039;&amp;#039;Renaissance Self-Fashioning&amp;#039;&amp;#039; (1980)&lt;br /&gt;
*Louis Adrian Montrose: &amp;quot;&amp;#039;Eliza, Queene of Shepheardes&amp;#039; and the Pastoral of Power&amp;quot; (1980); &amp;quot;Renaissance Literary Studies and the Subject of History&amp;quot; (1986)&lt;br /&gt;
*H. Aram Veeser (Ed): &amp;#039;&amp;#039;The New Historicism&amp;#039;&amp;#039; (1989)&lt;br /&gt;
&lt;br /&gt;
===Cultural Studies===&lt;br /&gt;
*Raymond Williams: &amp;#039;&amp;#039;Culture and Society&amp;#039;&amp;#039; (1958); &amp;#039;&amp;#039;Keywords: A Vocabulary of Culture and Society&amp;#039;&amp;#039; (1976)&lt;br /&gt;
*Michel Foucault: &amp;#039;&amp;#039;The History of Sexuality&amp;#039;&amp;#039; [&amp;#039;&amp;#039;The Will to Knowledge&amp;#039;&amp;#039;, Vol.1, 1976]; &amp;#039;&amp;#039;The Archeology of Knowledge&amp;#039;&amp;#039; (1969), &amp;#039;&amp;#039;Discipline and Punish&amp;#039;&amp;#039; (1979)&lt;br /&gt;
*Clifford Geertz: &amp;#039;&amp;#039;The Interpretation of Culture&amp;#039;&amp;#039; (1973) [Chapter 1]&lt;br /&gt;
&lt;br /&gt;
===Feminism, Gender Theory, Queer Studies===&lt;br /&gt;
*Virginia Woolf: &amp;quot;Mr. Bennett and Mrs. Brown&amp;quot; (1924); &amp;#039;&amp;#039;A Room of One&amp;#039;s Own&amp;#039;&amp;#039; (1929) &lt;br /&gt;
*Simone de Beauvoir: &amp;#039;&amp;#039;The Second Sex&amp;#039;&amp;#039; (1949; engl. 1953)&lt;br /&gt;
*Susan Sontag: &amp;quot;Notes On &amp;#039;Camp&amp;#039;&amp;quot; (1964); &amp;#039;&amp;#039;Against Interpretation and Other Essays&amp;#039;&amp;#039; (1966)&lt;br /&gt;
*Kate Millett: &amp;#039;&amp;#039;Sexual Politics&amp;#039;&amp;#039; (1970) [Ch. 2]&lt;br /&gt;
*Gayle Rubin: &amp;quot;The Traffic in Women&amp;quot; (1975)&lt;br /&gt;
*Luce Irigaray: &amp;#039;&amp;#039;Speculum of the Other Woman&amp;#039;&amp;#039; [&amp;quot;The Blind Spot of an Old Dream of Symmetry&amp;quot;]; &amp;#039;&amp;#039;This Sex Which is Not One&amp;#039;&amp;#039; (1977; engl. 1985) [&amp;quot;This Sex Which Is Not One&amp;quot;, &amp;quot;The Power of Discourse and the Subordination of the Feminine&amp;quot;, &amp;quot;The Mechanics of Fluids&amp;quot;, &amp;quot;When Our Lips Speak Together&amp;quot;, &amp;quot;When the Goods Get Together&amp;quot;]&lt;br /&gt;
*Hélène Cixous: &amp;quot;The Laugh of the Medusa&amp;quot;; &amp;quot;Sorties: Out &amp;amp; Out: Attacks/Ways Out/Forays&amp;quot;; with Catherine Clément: &amp;#039;&amp;#039;The Newly Born Woman&amp;#039;&amp;#039;&lt;br /&gt;
*Barbara Smith: &amp;quot;Towards a Black Feminist Criticism&amp;quot; (1977)&lt;br /&gt;
*Sandra Gilbert and Susan Gubar: &amp;#039;&amp;#039;The Madwoman in the Attic&amp;#039;&amp;#039; (1979) [Chapters 1-3, 10]&lt;br /&gt;
*Elaine Showalter: &amp;#039;&amp;#039;A Literature of Their Own&amp;#039;&amp;#039; (1977) [Ch. 1, 4, 10]; &amp;quot;Feminist Criticism in the Wilderness&amp;quot; (1980); &amp;#039;&amp;#039;Sexual Anarchy: Gender and Culture at the Fin the&lt;br /&gt;
Siècle&amp;#039;&amp;#039; (1992)&lt;br /&gt;
*Adrienne Rich: &amp;quot;Compulsory Heterosexuality and Lesbian Existence&amp;quot; (1980)&lt;br /&gt;
*bell hooks: &amp;#039;&amp;#039;Ain&amp;#039;t I a Woman: Black Women and Feminism&amp;#039;&amp;#039; (1981)&lt;br /&gt;
*Eve Kosofsky Sedgwick: &amp;#039;&amp;#039;Between Men: English Literature and Male Homosocial Desire&amp;#039;&amp;#039; (1985); &amp;#039;&amp;#039;Epistemology of the Closet&amp;#039;&amp;#039; (1990) [&amp;quot;Axiomatic&amp;quot;]&lt;br /&gt;
*Judith Butler: &amp;#039;&amp;#039;Gender Trouble: Feminism and the Subversion of Identity&amp;#039;&amp;#039; (1989); &amp;#039;&amp;#039;Bodies That Matter: On the Discursive Limits of &amp;quot;Sex&amp;quot;&amp;#039;&amp;#039;(1993)&lt;br /&gt;
*Christopher Castiglia: &amp;quot;Rebel Without a Closet&amp;quot; (1990)&lt;br /&gt;
*Wayne Koestenbaum: &amp;#039;&amp;#039;Engendering Men: The Question of Male Feminist Criticism&amp;#039;&amp;#039; (1990)&lt;br /&gt;
*Judith Roof: &amp;#039;&amp;#039;A Lure of Knowledge&amp;#039;&amp;#039; (1991)&lt;br /&gt;
*Lee Edelman: &amp;#039;&amp;#039;Homographesis&amp;#039;&amp;#039; (1994)&lt;br /&gt;
&lt;br /&gt;
===Postcolonial Theory===&lt;br /&gt;
*Frantz Fanon: &amp;#039;&amp;#039;Black Skin, White Masks&amp;#039;&amp;#039; (1952; engl. 1967); &amp;#039;&amp;#039;The Wretched of the Earth&amp;#039;&amp;#039; (1961; engl. 1963) [&amp;quot;On National Culture&amp;quot;]&lt;br /&gt;
*Edward Said: &amp;#039;&amp;#039;Orienalism&amp;#039;&amp;#039; (1978); &amp;#039;&amp;#039;Culture and Imperialism&amp;#039;&amp;#039; (1993)&lt;br /&gt;
*Gayatri Chakravorty Spivak: &amp;#039;&amp;#039;In Other Worlds: Essays in Cultural Politics&amp;#039;&amp;#039; (1987); &amp;#039;&amp;#039;Marxism and the Interpretation of Culture&amp;#039;&amp;#039; (1988) &amp;quot;Can the Subaltern Speak?&amp;quot;&lt;br /&gt;
*Kwame Anthony Appiah: &amp;quot;Is the &amp;#039;Post-&amp;#039; in &amp;#039;Postcolonial&amp;#039; the &amp;#039;Post-&amp;#039; in &amp;#039;Postmodern&amp;#039;?&amp;quot; (1991); &amp;#039;&amp;#039;In My Father&amp;#039;s House&amp;#039;&amp;#039; (1992)&lt;br /&gt;
*Sara Suleri: &amp;#039;&amp;#039;The Rhetoric of English India&amp;#039;&amp;#039; (1992)&lt;br /&gt;
*Aijaz Ahmad: &amp;#039;&amp;#039;In Theory: Classes, Nations and Literatures&amp;#039;&amp;#039; (1992)&lt;br /&gt;
*Paul Gilroy: &amp;#039;&amp;#039;The Black Atlantic: Modernity and Double Consciousness&amp;#039;&amp;#039; (1993)&lt;br /&gt;
*Homi Bhabha: The Location of Culture (1994) [&amp;quot;Of Mimicry and Men: The Ambivalence of Colonial Discourse&amp;quot;]&lt;br /&gt;
*Arjun Appadurai: &amp;#039;&amp;#039;Modernity at Large: Cultural Dimensions of Globalization&amp;#039;&amp;#039; (1996)&lt;br /&gt;
*Graham Huggan: &amp;#039;&amp;#039;The Postcolonial Exotic: Marketing the Margins&amp;#039;&amp;#039; (2001)&lt;br /&gt;
&lt;br /&gt;
===History of the Book===&lt;br /&gt;
*David Finkelstein and Alistair McCleery: &amp;#039;&amp;#039;An Introduction to Book History&amp;#039;&amp;#039; (2005); &amp;#039;&amp;#039;The Book History Reader&amp;#039;&amp;#039; (2002; repr. 2008)&lt;br /&gt;
*Simon Eliot, Andrew Nash, and Ian Willison: &amp;#039;&amp;#039;Literary Cultures and the Material Book&amp;#039;&amp;#039; (2007)&lt;br /&gt;
*Simon Eliot and Jonathan Rose: &amp;#039;&amp;#039;A Companion to the History of the Book&amp;#039;&amp;#039; (2007; repr. 2008)&lt;br /&gt;
&lt;br /&gt;
[[Category:Reading lists|literary theory]]&lt;/div&gt;</summary>
		<author><name>Anna Auguscik</name></author>
	</entry>
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