Literary theory,” sometimes designated “critical theory,” or “theory,” and now undergoing a

transformation into “cultural theory” within the discipline of literary studies, can be understood

as the set of concepts and intellectual assumptions on which rests the work of explaining or

interpreting literary texts. Literary theory refers to any principles derived from internal analysis

of literary texts or from knowledge external to the text that can be applied in multiple interpretive

situations. All critical practice regarding literature depends on an underlying structure of ideas in

at least two ways: theory provides a rationale for what constitutes the subject matter of criticism

—”the literary”—and the specific aims of critical practice—the act of interpretation itself. For

example, to speak of the “unity” of Oedipus the King explicitly invokes Aristotle’s theoretical

statements on poetics. To argue, as does Chinua Achebe, that Joseph Conrad’s The Heart of

Darkness fails to grant full humanity to the Africans it depicts is a perspective informed by a

postcolonial literary theory that presupposes a history of exploitation and racism. Critics that

explain the climactic drowning of Edna Pontellier in The Awakening as a suicide generally call

upon a supporting architecture of feminist and gender theory. The structure of ideas that enables

criticism of a literary work may or may not be acknowledged by the critic, and the status of

literary theory within the academic discipline of literary studies continues to evolve.

Literary theory and the formal practice of literary interpretation runs a parallel but less well

known course with the history of philosophy and is evident in the historical record at least as far

back as Plato. The Cratylus contains a Plato’s meditation on the relationship of words and the

things to which they refer. Plato’s skepticism about signification, i.e., that words bear no

etymological relationship to their meanings but are arbitrarily “imposed,” becomes a central

concern in the twentieth century to both “Structuralism” and “Poststructuralism.” However, a

persistent belief in “reference,” the notion that words and images refer to an objective reality, has
provided epistemological (that is, having to do with theories of knowledge) support for theories

of literary representation throughout most of Western history. Until the nineteenth century, Art,

in Shakespeare’s phrase, held “a mirror up to nature” and faithfully recorded an objectively real

world independent of the observer.

TYPES OF LITERARY THEORIES

POSTCOLONIAL LITERARY THEORY

Postcolonial literary theory is a critical framework that examines the literature produced in the

aftermath of colonialism and imperialism. It is concerned with how colonialism, decolonization,

and their legacies have shaped the literature of formerly colonized regions and how literature can

serve as a vehicle for expressing postcolonial identities and experiences. This theory highlights

the power dynamics between colonizers and colonized, the impact of cultural hybridity, and the

quest for cultural and political autonomy. Here's an in-depth exploration of key concepts,

influential figures, and applications of Postcolonial literary theories:

Key Concepts in Postcolonial Literary Theories:

Colonialism and Its Legacy: Postcolonial literary theories focus on the historical context of

colonialism, acknowledging its profound impact on the cultures, identities, and psyches of

colonized people. These theories examine the lingering effects of colonialism on postcolonial

societies.

Cultural Hybridity: Postcolonial theory emphasizes the blending of cultures and identities, often

referred to as cultural hybridity or creolization. It explores how colonial encounters led to the

mixing of cultures, languages, and traditions, resulting in unique, syncretic identities.

Power and Resistance: Postcolonial literature often features narratives of resistance and

subversion against colonial powers. These narratives explore the complexities of power

dynamics, the struggle for self-determination, and the resilience of colonized peoples.

Marginalization and Voice: Postcolonial literary theories highlight the voices of marginalized

and disenfranchised individuals and communities who have historically been silenced or

overlooked in colonial and postcolonial contexts. They examine how literature provides a

platform for these voices.

Language and Identity: Postcolonial theorists like Ngũgĩ wa Thiong'o have explored the role of

language in shaping identity. They argue for the recovery and revitalization of indigenous

languages as a means of asserting cultural autonomy.

Influential Figures in Postcolonial Literary Theories:

Edward Said: Edward Said's "Orientalism" (1978) is a seminal work in postcolonial theory. He

examines how Western literature and scholarship have constructed and represented the "Orient"

as an exotic and inferior other, contributing to the project of colonialism.

Frantz Fanon: Fanon's "The Wretched of the Earth" (1961) is a significant text in postcolonial

theory. He delves into the psychological and sociopolitical effects of colonization and the

importance of decolonization in the quest for liberation and self-identity.

Chinua Achebe: Achebe's "Things Fall Apart" (1958) is a central text in postcolonial literature. It

portrays the impact of British colonialism on the Igbo society in Nigeria and challenges

Eurocentric representations of Africa.

Ngũgĩ wa Thiong'o: Ngũgĩ's "Decolonising the Mind" (1986) emphasizes the importance of

language in the decolonization process. He argues for the rejection of the language of the

colonizer and the revival of indigenous languages.

Homi K. Bhabha: Bhabha's work, including "The Location of Culture" (1994), explores the

concept of "hybridity" and the ways in which postcolonial subjects navigate multiple cultural

identities and spaces.

Applications of Postcolonial Literary Theories:

Literary Analysis: Postcolonial literary theories are used to analyze and interpret literature from

postcolonial regions, exploring themes related to cultural identity, resistance, hybridity, and

colonial legacies.

Historical Understanding: Postcolonial theories help historians gain a deeper understanding of

the cultural and social dynamics of postcolonial societies, shedding light on how colonialism

continues to influence these regions.

Cultural Studies: Postcolonial theories contribute to the study of cultural practices, rituals, and

expressions in postcolonial contexts, highlighting how these practices reflect cultural resilience

and adaptation.

Language and Education: Postcolonial theories inform discussions on language policy and

education, particularly in promoting indigenous languages and cultural heritage in postcolonial

nations.

Global Studies: Postcolonial literary theories are essential for examining global power dynamics

and understanding the complexities of globalization and cultural exchange.

In conclusion, Postcolonial literary theories provide a framework for understanding the complex

relationships between colonizers and colonized, the enduring impact of colonialism on culture

and identity, and the resilience of postcolonial communities.

FORMALISM THEORY

Formalism is a literary theory that emerged in the early 20th century and focuses on the formal

aspects of a literary work, such as its structure, language, and literary devices. This critical

framework stands in contrast to more historically oriented approaches, which consider the social,

cultural, and biographical context of a text. Formalist critics believe that the meaning of a literary

work can be derived primarily from an analysis of its intrinsic features, and they prioritize a

close examination of the text itself. Here's a more detailed exploration of Formalism as a literary

theory:

Key Concepts in Formalism:

Intrinsic Features: Formalism emphasizes the inherent qualities of a literary work, including

elements such as plot, characterization, point of view, language, structure, and style. These

features are analyzed in isolation from external context.

Defamiliarization: Formalists, particularly Russian Formalists like Viktor Shklovsky, introduced

the concept of "defamiliarization" (ostranenie). This concept suggests that art's primary function

is to make the familiar seem unfamiliar, encouraging readers to perceive reality in new and fresh

ways.

Close Reading: Formalism encourages close reading, a methodical examination of the text's

language and structure. Formalist critics pay particular attention to literary devices, such as

metaphor, imagery, symbolism, and irony.

Aesthetic Autonomy: Formalists believe that a work of art, including literature, possesses a

degree of autonomy. This means that a work is not solely a reflection of external reality but

rather an independent creation with its own internal rules and logic.

New Critical Influences: While not strictly aligned with Formalism, New Criticism in the United

States shares some common principles, emphasizing the importance of the text itself and

advocating for a "close reading" approach.

Influential Figures in Formalism:

Viktor Shklovsky: Shklovsky, a Russian Formalist, is known for his essay "Art as Technique"

(1917). He introduced the concept of defamiliarization and argued that the purpose of art is to

make the familiar unfamiliar.

Roman Jakobson: Another prominent Russian Formalist, Jakobson's work "Linguistics and

Poetics" (1960) explores the relationship between linguistics and literature. He introduced the

concept of the "poetic function" of language in literature.

Cleanth Brooks and Robert Penn Warren: These American New Critics co-authored

"Understanding Poetry" (1938), which emphasizes the importance of close reading and the

examination of a poem's intrinsic features.

Vladimir Propp: A Russian Formalist folklorist, Propp's "Morphology of the Folktale" (1928)

provided a structural analysis of folk narratives, identifying recurring character functions and

story elements.

Applications of Formalism:
Literary Analysis: Formalism is used for the close analysis of literary texts, focusing on their

form and style. It is particularly valuable in the study of poetry, where poetic devices and

language play a central role.

Teaching and Pedagogy: Formalism can be applied in the classroom to teach students how to

analyze and appreciate literature by examining the text itself. It encourages students to pay

attention to the details and nuances of a literary work.

Comparative Literature: Formalist principles can be used in comparative literature studies to

analyze how different authors and works employ similar or distinct literary techniques.

Interpretation and Criticism: While Formalism does not address the socio-cultural context of a

text, it can be a valuable component of a broader interpretive approach, helping critics and

scholars better understand the formal dimensions of a work.

In conclusion, Formalism as a literary theory places the emphasis on the intrinsic qualities of a

literary work, asserting that a text's meaning can be derived from a careful examination of its

form and language. It has played a pivotal role in the development of literary criticism,

encouraging scholars to engage in close readings and appreciate the artistry of literature. While it

is not the only approach to literary analysis, Formalism remains a valuable perspective in

understanding and interpreting

READER-RESPONSE LITERARY THEORY

Reader-Response literary theory is a critical framework that places the reader at the center of the

interpretation of a literary work. It argues that the meaning of a text is not fixed or inherent in the

words on the page but is instead a dynamic and subjective process shaped by the reader's

engagement with the text. Reader-Response theory emphasizes the reader's active role in
constructing meaning and explores how individual experiences, backgrounds, and beliefs

influence the interpretation of literature. Here's an in-depth exploration of Reader-Response

theory:

Key Concepts in Reader-Response Theory:

Transactional Process: Reader-Response theorists argue that the meaning of a text is created

through an ongoing transaction between the reader and the text. The reader's response,

interpretation, and interaction with the text are central to this process.

Subjectivity: Reader-Response theory acknowledges the subjectivity of interpretation. Readers

bring their own experiences, beliefs, and emotions to their reading, and these factors shape how

they understand and respond to a text.

Individual Reader's Role: The theory underscores that each reader brings a unique perspective to

the text. It's not just about understanding what the author intended but also about how the reader

personally engages with and interprets the text.

Multiple Interpretations: Reader-Response theorists argue that there can be multiple valid

interpretations of a single text because different readers will bring different experiences and

backgrounds to their reading.

Reading Communities: Reader-Response theory also considers how reading is influenced by a

reader's cultural, social, and historical context. Different communities, such as book clubs,

literary circles, or academic institutions, can influence how readers interpret a text.

Prominent Figures in Reader-Response Theory:

Louise Rosenblatt: Louise Rosenblatt's transactional theory of reading, as articulated in her book

"The Reader, the Text, the Poem" (1978), is foundational to Reader-Response theory. She

emphasizes the dynamic and subjective nature of the reading process.

Wolfgang Iser: Iser's work, particularly "The Act of Reading: A Theory of Aesthetic Response"

(1976), explores the concept of the implied reader and how readers fill in gaps in a text with their

own interpretations. He stresses the active role of readers in constructing meaning.

Stanley Fish: In "Is There a Text in This Class?" (1980), Fish emphasizes the role of interpretive

communities. He argues that readers are shaped by the norms and values of the communities they

belong to and that meaning is constructed within those communities.

Norman Holland: Holland's work, including "5 Readers Reading" (1975), delves into the

psychological and emotional stances readers adopt when reading. He posits that readers have

specific interpretive strategies and that different stances can lead to different readings of the

same text.

Applications of Reader-Response Theory:

Education: Reader-Response theory has been applied in educational contexts to help teachers

understand how students engage with and interpret texts. This approach emphasizes the

importance of valuing and respecting diverse responses.

Literary Analysis: Scholars and critics use Reader-Response theory to explore the different ways

readers have engaged with literary works over time. It provides insights into the changing

interpretations of canonical texts.

Textual Studies: Reader-Response theory has been employed in the study of marginal and

alternative texts, focusing on how different readers interpret texts that may challenge dominant

ideologies.

Reception Studies: This area of research examines how literary works are received by different

audiences and communities and how these receptions vary based on cultural and historical

factors.

Reader-Response theory challenges traditional notions of authorial intent and proposes that texts

are brought to life through the interactions between the text and the reader. It underscores the

richness and diversity of reading experiences and the way that readers actively contribute to the

meaning of literature.

FEMINIST LITERARY CRITICISM

Feminist literary criticism is literary criticism informed by feminist theory, or more broadly, by

the politics of feminism. It uses the principles and ideology of feminism to critique the language

of literature. This school of thought seeks to analyze and describe the ways in which literature

portrays the narrative of male domination by exploring the economic, social, political, and

psychological forces embedded within literature.[1] This way of thinking and criticizing works

can be said to have changed the way literary texts are viewed and studied, as well as changing

and expanding the canon of what is commonly taught. It is used a lot in Greek myths.[2]

Traditionally, feminist literary criticism has sought to examine old texts within literary canon

through a new lens. Specific goals of feminist criticism include both the development and

discovery of female tradition of writing, and rediscovering of old texts, while also interpreting

symbolism of women's writing so that it will not be lost or ignored by the male point of view and
resisting sexism inherent in the majority of mainstream literature. These goals, along with the

intent to analyze women writers and their writings from a female perspective, and increase

awareness of the sexual politics of language and style[3] were developed by Lisa Tuttle in the

1980s, and have since been adopted by a majority of feminist critics.

The history of feminist literary criticism is extensive, from classic works of nineteenth-century

female authors such as George Eliot and Margaret Fuller to cutting-edge theoretical work

in women's studies and gender studies by "third-wave" authors. Before the 1970s—in

the first and second waves of feminism—feminist literary criticism was concerned with women's

authorship and the representation of women's condition within the literature; in particular the

depiction of fictional female characters. In addition, feminist literary criticism is concerned with

the exclusion of women from the literary canon, with theorists such as Lois Tyson suggesting

that this is because the views of women authors are often not considered to be universal.[4]

Additionally, feminist criticism has been closely associated with the birth and growth of queer

studies. Modern feminist literary theory seeks to understand both the literary portrayals and

representation of both women and people in the queer community, expanding the role of a

variety of identities and analysis within feminist literary criticism.

NEW HISTORICISM THEORY

New Historicism is a literary theory and critical approach that emerged in the late 20th century.

It challenges traditional literary analysis by emphasizing the interconnectedness of literature with

the historical, cultural, and social context in which it is produced. New Historicism argues that a

literary work cannot be understood in isolation from the historical conditions of its creation. It
seeks to reveal how literature reflects, refracts, and sometimes resists the ideologies and power

structures of its time. Here's a more in-depth exploration of New Historicism as a literary theory:

Key Concepts in New Historicism:

Historical Context: New Historicists contend that a literary work should be studied within the

broader historical and cultural context in which it was written. They believe that historical

circumstances significantly influence a text's meaning and interpretation.

Power and Ideology: A central focus of New Historicism is power dynamics within society. It

investigates how literature reflects and sometimes challenges dominant ideologies, whether they

are related to class, gender, race, politics, or religion.

Intertextuality: New Historicism places great importance on intertextuality, the idea that texts are

interconnected. This theory examines how a work references and draws from other texts, and

how these intertextual relationships contribute to the overall meaning of the work.

Subversion and Resistance: New Historicism looks for instances of resistance and subversion

within a text, where authors or characters may challenge or contest prevailing norms or societal

structures.

Unearthing Marginalized Histories: This approach aims to uncover and highlight marginalized or

silenced voices and histories. It often seeks to explore the experiences and perspectives of groups

or individuals who have been historically excluded from the dominant narrative.

Influential Figures in New Historicism:

Stephen Greenblatt: Often considered one of the founders of New Historicism, Greenblatt's

work, "Renaissance Self-Fashioning: From More to Shakespeare" (1980), explores how

individuals in the Renaissance period constructed their identities in response to cultural and

social influences.

Michel Foucault: While primarily a philosopher, Foucault's ideas, as presented in works like

"The Order of Things: An Archaeology of the Human Sciences" (1966), have been instrumental

in shaping New Historicism. He emphasizes the role of knowledge and discourse in shaping

historical periods.

H. Aram Veeser: Veeser's collection of essays titled "The New Historicism" (1989) offers an

overview of New Historicism as a literary theory and features critical essays that demonstrate its

application to various literary and historical texts.

Louis Montrose: Montrose's "Professing the Renaissance: The Poetics and Politics of Culture"

(1989) explores the intersections between literature, politics, and culture in the Renaissance

period. He highlights how Renaissance texts were intertwined with political and ideological

debates.

Applications of New Historicism:

Literary Analysis: New Historicism is used to analyze and interpret literary works, revealing how

they mirror the historical and cultural conditions of their creation.

Historical Understanding: The theory is applied in historical research to gain a deeper

understanding of the cultural and social context of specific periods.

Cultural Studies: New Historicism contributes to cultural studies by examining the role of

literature in shaping and reflecting cultural norms and values.

Interdisciplinary Studies: New Historicism encourages interdisciplinary research, incorporating

insights from history, sociology, anthropology, and other fields to analyze and interpret literary

works.

Reception Studies: Scholars often employ New Historicism to study how literary works are

received by different audiences and how they impact the social and cultural discourses of their

time.

In conclusion, New Historicism as a literary theory emphasizes the inextricable connection

between literature and history, arguing that a text cannot be comprehended in isolation from its

cultural and social context. It has played a substantial role in broadening the scope of literary

analysis and providing new perspectives on how literature reflects and engages with the

intricacies of human history and society.

REFERENCE

https://iep.utm.edu/literary/

https://en.wikipedia.org/wiki/Feminist_literary_criticism

Achebe, Chinua. "Things Fall Apart." Heinemann, 1958.

Fanon, Frantz. "The Wretched of the Earth." Grove Press, 1961.

Shklovsky, Viktor. "Art as Technique." In L. T. Lemon & M. J. Reis (Eds.), "Russian Formalist

Criticism: Four Essays." University of Nebraska Press, 1965.

Brooks, Cleanth, & Warren, Robert Penn. "Understanding Poetry: An Anthology for College

Students." Henry Holt and Company, 1938.

Propp, Vladimir. "Morphology of the Folktale." University of Texas Press, 1968.

Rosenblatt, Louise. "The Reader, the Text, the Poem: The Transactional Theory of the Literary

Work." Southern Illinois University Press, 1978.

Iser, Wolfgang. "The Act of Reading: A Theory of Aesthetic Response." The Johns Hopkins

University Press, 1976.

Rich, Adrienne. "Of Woman Born: Motherhood as Experience and Institution." W. W. Norton &

Company, 1976.

Butler, Judith. "Gender Trouble: Feminism and the Subversion of Identity." Routledge, 1990.

hooks, bell. "Ain't I a Woman: Black Women and Feminism." South End Press, 1981.

Greenblatt, Stephen. "Renaissance Self-Fashioning: From More to Shakespeare." University of

Chicago Press, 1980.

Foucault, Michel. "The Order of Things: An Archaeology of