Richard Harland – författare

Where does the current explosion in literary theory come from? What earlier theoretical movements does it grow out of, bounce off, react against?This introductory history homes in on the essential principles governing the major movements in literary theory, unfolding a comprehensive 'story' in all its jumps and swings and switches.Because contemporary literary theory depends heavily upon European thinkers, the focus here is international; and because contemporary theory draws from many sources outside traditional 'literary criticism', the coverage also extends to philosophers, social theorists and linguists.Harland looks behind particular critical judgements and interpretations in order to convey a core grasp of underlying positions. He explains the internal rationale of each position, along with its derivation and repercussions. At the same time, he shows how literary theory has taken on very different roles in different periods. He relates these different roles to particular socio-political settings, institutional contexts and creative practices.Lucid and accessible, Literary Theory from Plato to Barthes is an invaluable aid for students seeking to make sense of contemporary literary theory.Richard Harland is a Senior Fellow on the English Program at the University of Wollongong, Australia.

Moving on from his previous book, Superstructuralism , Richard Harland argues that the focus on single words in the structuralist theory of language is its key weakness and that the next advance beyond post-structuralism depends upon replacing word-based with syntagm-based theories. In a lucid way he develops a new syntagmatic theory which shows that the effect of combining words grammatically can transform the very nature of meaning. The wide breadth of coverage in the book covers both post-Chomskyan' linguistics and Derrida, and sets up an opposition to analytic and speech-act views of language. By presenting a systematic critique and counter-proposal, Harland challenges the very foundation of recent literary and language based theory.

Moving on from his previous book, Superstructuralism , Richard Harland argues that the focus on single words in the structuralist theory of language is its key weakness and that the next advance beyond post-structuralism depends upon replacing word-based with syntagm-based theories. In a lucid way he develops a new syntagmatic theory which shows that the effect of combining words grammatically can transform the very nature of meaning. The wide breadth of coverage in the book covers both post-Chomskyan' linguistics and Derrida, and sets up an opposition to analytic and speech-act views of language. By presenting a systematic critique and counter-proposal, Harland challenges the very foundation of recent literary and language based theory.

First Published in 2002. It is easy to see that we are living in a time of rapid and radical social change. It is much less easy to grasp the fact that such change will inevitably affect the nature of those disciplines that both reflect our society and help to shape it. Yet this is nowhere more apparent than in the central field of what may, in general terms, be called literary studies. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change. To stretch rather than reinforce the boundaries that currently define literature and its academic study.

First Published in 2002. It is easy to see that we are living in a time of rapid and radical social change. It is much less easy to grasp the fact that such change will inevitably affect the nature of those disciplines that both reflect our society and help to shape it. Yet this is nowhere more apparent than in the central field of what may, in general terms, be called literary studies. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change. To stretch rather than reinforce the boundaries that currently define literature and its academic study.