Literary Theory: The Basics

The Basics

by Hans Bertens, Wolfgang Huemer (Editor)

Providing the ideal first step in understanding the often bewildering world of literary theory, this text is an easy to follow and clearly presented introduction to this fascinating area.

Genres: Nonfiction, Literature, Literary Criticism, Theory, Criticism, School, Philosophy

272 pages, Paperback

First published January 1, 2000

About the author

Hans Bertens, born Johannes Willem Bertens, is a Dutch academic writer and professor emeritus of Utrecht University in the Netherlands. He specialised in American studies and comparative literature.

He was born in Harderwijk, the Netherlands, and studied in Utrecht.

Reviews

[Seyed Hashemi · Rating 4 out of 5]

نظریه برای فراتر رفتن از متن ادبی؛
حواسمان باشد «متن ادبی» در این فراروی گم نشود!

0- یه کوچولو می‌خوام غر بزنم :)
کسی که درگیر علوم انسانی/اجتماعی باشد در یک وضعیت پاندولی گیر کرده است؛ پاندولی در نوسان میانِ ناامیدیِ محض و کورسویی ز فهم. سعی می‌کنم اندکی این مورد را توضیح بدهم.
در آن جایی که «جهان واقعی» با دغدغه‌های روزمره باشد، جایی کسی که علوم انسانی/اجتماعی بداند را نمی‌خرد. کسی بخاطر تسلط شما در نظریۀ ادبی، هرمنوتیک فلسفی، روایت‌شناسی و تخصص در ایده‌آلیسم آلمانی بعید است شما را بخرد و بتوانید از این مسیر امرار معاش کنید؛ فکر کردید دانشگاه و استاد شدن مسیرِ خوبی برای این است؟ بعید می‌دانم. یعنی باید باشد، اما نیست. به نظرم یادداشت «چه طرف بربستیم؟ هیچ!» از محمدعلی میرباقری که در سایت مرکز فرهنگی شهر کتاب منتشر شده، بتونه این سرافکندگی را خوب توضیح بدهد. با جستوجویی در گوگل به آن متن خواهید رسید.
این چیزی که بهش می‌گیم علوم انسانی/اجتماعی در فهم بسیاری از امور به صورت وحشتناک و خجالت‌آوری ضعف دارد. کلی می‌شه اینجا حرف زد ولی برای کتابی که در مورد «نظریۀ ادبی» است، لازم نیست وارد این موارد شد. الان می‌خوام از گشودگی متقابلِ متنِ ادبی و نظریۀ علوم انسانی/اجتماعی بگم. خیلی ساده، متنِ ادبی ظرفیت‌های بسیاری از خود نشان می‌دهد که به مدد نظریات موجود در علوم انسانی/اجتماعی متنِ ادبی را بهتر فهم کنیم و از آن سمت نظریات علوم انسانی/اجتماعی این توان را در خود دارد که به نحوی خوانده شوند که به کارِ فهمِ متن ادبی بخورند.

1- این کتاب که از سری کتاب‌های عالیِ The Basics از انتشارات خیلی خوبِ راتلج/routledge است در 9 فصل به اساسی‌ترین مباحث موجود در نظریۀ ادبی پرداخته است. اول از رستگاه‌های نظریه ادبی می‌گوید، از آغازی که نیت به فهمِ «معنای» اثر داشت تا در ادامه که به فرمالیست‌ها رسیدیم. نظریه ادبی به بیانی از فرزندانِ آکادمیِ مدرن است؛ جایی که به عده‌ای پول دادند تا بشینند و متن ادبی بخوانند و متن ادبی را بفهمند و این یافته‌ها را دیگرانی به اشتراک بگذارند (مگر آکادمی چیزی است جز همین «اجتماع معرفتی»؟).
سه فصل اولِ کتاب که در مورد نظریاتِ متقدمِ ادبی بود برای من بسیار جذاب‌تر بود تا فصل‌های بعدیِ کتاب. مشخصا دو فصلِ مربوط به فرمالیست‌ها و ساختارگراها به نظرم بسیار به سامان و به قاعده نگاشته شده بود و در بسیاری موارد جز بهتری منابعی بود که تا به‌حال مطالعه کرده ام. در ادامۀ فصول (فصل 4الی9) که از «خوانش سیاسی» شروع می‌شود، رنگ و بوی غالب متن، از «متن ادبی» خارج می‌شود و نظریۀ علوم انسانی/اجتماعی وارد کار می‌شود. از آنجایی که اندکی بیشتر («اندک» و نه بیشتر از اندک) با نظریات علوم انسانی/اجتماعی‌ای که نویسنده بهشان ارجاع می‌داد آشنا بودم، بدیع بودن 150 صفحۀ دوم کتاب برایم کمتر بود. البته از بس روایت نویسنده دقیق، بجا و در نسبت با متنِ ادبی بود که بسیار آورده داشت خواندن این مباحث در این کتاب برایم. در عین حال، اگر خواننده‌ای با این نظریات (از هژمونیِ گرامشی و ایدئولوژی آلتوسر گرفته، تا نظریات پسااستعماری ادوارد سعید و «قدرت» از دیدگاه فوکو) آشنا نباشد، تقریر نویسنده از این نظریات و نسبتی که با متنِ ادبی دارند، بسیار خوب بود و قطعا مفید خواهد بود (طبعا اگر این نظریات را بیرون از کتاب بشناسید، بهتر می‌توانید با متن همراه شوید).

2- ترجمۀ کتاب عالی بود. آقای ابوالقاسمی را کشف کرده ام. چند کتاب و مقالۀ جذاب از ایشون یافته ام که به سراغشون خواهم رفت. مشخصا در زیباشناسی احتمالا به هدایتِ اسمِ ایشون مسیرم رو پیگیری کنم. ترجمۀ این اثر هم به غایت روان، دقیق و خوب بود.
یه مشکلِ بهخوان و گودریدز برام این شده که از «مقاله» خوندن و تحقیقی کار کردن فاصله گرفته ام. احتمالا تنظیم این مورد خیلی بهم کمک کنه در آینده :)

3- بازم ارجاع به دو مفهومِ «تخدیر نظریه» و «تئوری ذهنِ وحشی» که توی ذهنم هست، اینجا مهمه. یه ذره خسته و سر شلوغم، نمی‌تونم بیشتر از این بگم ولی گفتم اینجا اینا رو بنویسم که بعدا یادم نره.

همین مختصر رو نوشتم که نوشته باشم. توی چند روز آینده احتمالا خیلی وقت نکنم چیزی بیشتر بنویسم.

اگه خواستید نظریۀ ادبی بخوانید (که خوب است بخوانید) این کتاب واقعا پیشنهادشدنی است.

[Alok Mishra · Rating 3 out of 5]

To a great extent, I agree with the views expressed by Michael Hasse. The author has entered into the world of theory more than he could have ideally done. Literature and literary theory are left far behind and students (readers) may have to deal with ideologies, beliefs and ideas. Bertens' chapter on Marxism was the realisation that I needed. Critique of a literary text and understanding of the theories that govern the same do not require a complete, in-depth review of what Marx and his believers thought about the economy and the 'eternal struggle'. Hans ideally could write with a better tone. The book is useful. To an extent. Just that. You can read Hasse's review for further understanding of the conundrum that Hans' book creates.

[Nafis · Rating 3 out of 5]

با اینکه خیلیشو نفهمیدم ولی خوشم اومد :) فکر میکنم برای معرفی و آشنایی با خیلی از مباحث خوب بود ولی باید به طور جدیتر اون مباحث رو بخونم
از مباحثی که دوست داشتم و حس میکنم باید بیشتر اونهارو بخونم پساساختارگرایی و پست مدرنیسم و همچنین تئوری کوییر بود که حس میکنم توضیحات کتاب درباره‌ش خیلی کم بود. نظریات لاکان هم خیلی برام جالب بود.

[Elham 8 Azimi · Rating 4 out of 5]

درست مطمئن نیستم امتیازی که به این کتاب می‌دهم، چقدر حقیقی است. چون این بار اولی است که کتابی دربارۀ نظریات و نقد ادبی را کامل می‌خوانم؛ همیشه نگاهی به فهرست می‌انداخته‌ام و همان تیتری را که لازم داشته‌ام می‌خوانده‌ام و احیاناً می‌نوشته‌ام و تمام. شکل کتاب‌های مرجع دقیقاً.
علی ای حال در این مورد فکر می‌کنم:
این کتاب ادعایی را که در مقدمه و پشت جلد آن کرده است، تا حد قابل قبولی محقق کرده است. یعنی این‌که: «کتابی که در پیش رو دارید، هرچند تاریخ نظریۀ ادبی نیست، اما به شرحی جامع در باب تحولات نظریۀ ادبی از اواخر قرن نوزدهم تا اوایل قرن بیست و یکم پرداخته است... این کتاب علاوه بر آن‌که شرحی مقدماتی است و به زبان کم و بیش ساده‌ای نوشته شده است، و علاوه بر آن‌که از جامعیت کافی برخوردار است، روزآمد نیز هست و دربرگیرندۀ شرح‌های جامعی در باب آخرین تحولات در حوزۀ نقد و نظریۀ ادبی است.»
این‌که با ترتیب و توالی تاریخی، نظریات ادبی را یکی‌یکی عنوان کرده و شرح داده بود، برای من روشنگر و کارامد بود. این‌که در ذیل هر نظریه می‌گفت که این نظریه ریشه در کدام نظریه دارد و تشابهاتش با آن دیگری چیست و تفاوت‌هایش، ذهنی را که پراکنده می‌شد در ترجمۀ گاهی ثقیل، جمع می‌کرد.
برنتز نهایت تلاشش را کرده است که نظریات را بدون زاویۀ دید خودش بنویسد، و در بیشتر جاها موفق شده است هر نظریه را به همان صورتی که واقعاً بوده نشان دهد، مگر جاهایی که ذکر می‌کند نظر خودش درمورد این نظریه چیست و تفصیل آن. فقط همان قسمت‌هاست که ما با نقدِ بعضی نظریات از سوی برنتز هم مواجه هستیم.
فصل‌بندی کتاب مناسب و معقول است:
1. خوانش معنامدار (که شامل نقد عملی و نقد نو می‌شود.)
2. خوانش شکل‌مدار 1 (که شامل صورتگرایی و ساختگرایی اولیه می‌شود.)
3. خوانش شکل‌مدار 2 (که شامل ساختگرایی فرانسوی می‌شود.)
4. خوانش سیاسی (که شامل مارکسیسم و فمنیسم و روابط نژادی می‌شود.)
5. انقلاب پساساختگرایی (دریدا، ساختارشکنی و پسامدرنیستم)
6. تداوم پساساختگرایی (فوکو، لاکان، فمنیسم فرانسوی)
7. ادبیات و فرهنگ
8. نظریات پسااستعماری
حتی در پایان هر فصل یک «خلاصه» از آن فصل هست که جمع‌بندی خوبی از مهم‌ترین مباحث مطرح شده در آن فصل است و ذهن را مجموع می‌کند قبل از ورود به مبحث بعدی.
فکر می‌کنم اگر روزی واحدهای تدریسی ادبیات در دانشگاه‌ها به نظریات ادبی روی خوش نشان بدهند، این کتاب حتماً یکی از کتاب‌هایی است که برای این درس منظور شود، نگاهی تاریخی و مشروح و جامع به نظریات ادبی، بدون زاویۀ دید خاصی، روشن و شفاف.

مثل همیشه در آخر نکته‌ای هم درمورد ترجمه:
یادم است یکی از اساتیدمان به شدت با فرزان سجودی مخالف بود و به‌طور بدی هجوش می‌کرد! عین جملاتش در خاطرم نشسته و موقعی که می‌خواستم این کتاب را بخوانم دائم جلوی چشمم بود. هنوز با این یک ترجمه‌ای که از او خوانده‌ام، نمی‌توانم به صحت یا عدم صحت حرف استادم پی ببرم؛ اما چیزی که دیدم، ترجمۀ نسبتاً خوبی بود. دشواری‌هایی داشت و گاهی واقعاً لازم بود برای فهمیدن یک پاراگراف، از سه پاراگراف قبل چندین بار خوانده شود. اما مجموعاً نمرۀ قابل قبولی می‌گرفت به‌نظرم؛ حوزۀ نقد و نظریۀ ادبی، در ترجمه بسیار حساس است و دشوار. اصل حرف استادم هم همین بود که سجودی نظریات را دگرگون می‌کند و ترجمه می‌کند و آنچه ما از برای مثال ساختگرایی می‌فهمیم، با چیزی که در حقیقت هست، متفاوت است! خدا داند و آن‌ها که زیاد خوانده‌اند، من نه :)

گزیده هایی از متن کتاب را هم در آپدیت استتیوسها گذاشته ام طی روند خواندن، کسانی که می خواهند مثالی داشته باشند می تواند به آنجا نگاه کنند.

[Uğur Karabürk · Rating 3 out of 5]

Benim için çok ağır ve sıkıcı bir okuma oldu. Verilen örnekler daha çok İngiliz ve Fransız Edebiyatı düşünürleri üzerineydi. Onları da bilmiyorsanız işiniz biraz daha çetin. İlginiz varsa ve daha çok işin eleştiri kısmını aynı zamanda kavramları öğrenmek istiyorsanız deneyebilirsiniz.

[Mahdi · Rating 4 out of 5]

کتاب خوب و جمع و جوری بود. نکته‌ی مثبتی که داشت این بود که نسبت به کتاب‌هایی که درباره مجموعه نظریات ادبی تو ایران ترجمه شده جدیدتره و حتی نظریاتی مثل سکسوالیته که تو دهه‌ی ۱۹۹۰ به وجود اومده رو در برمی‌گیره. فقط کاش مثال‌هایی از شکل نقد هم می‌زد و متن کوتاهی رو با روش‌هایی که توضیح می‌داد نقد می‌کرد.

[Ahmed Adel · Rating 5 out of 5]

I have never imagined I could enjoy a book about literary theories as much as I did.
This book offers an amazing, EASY, introduction to almost all literary schools, in a simple way.
The book is a page-turner!

[Samir Rawas Sarayji · Rating 5 out of 5]

Thank you Hans Bertens for writing this wonderfully accessible introduction to literary theory. Reading this book is like reading a page-turner that hooks you not because of the plot, but because the character is so relatable that his or her plight becomes yours. It is strange to think of a non-fiction book in this way, but this is what reading this text has been like. I felt like Bertens took me by the hand, sat me down, and embarked on his encompassing knowledge of literary theory, all the while taking his time to make sure the language is simple (no unnecessary jargon), the explanations clear (no embedded subclauses), and the examples relevant (no obscure references). And to top it off, the breadth is covered with just enough depth. Bertens knows his subject and it shows by his economy of language and thought, rather than by pretentiousness or verbal diarrhea. Absolutely brilliant.

But that is not all! At the end of each chapter is a summary box that is the perfect summary! In half a page he summarises concisely the topic discussed in the previous 20 or so pages. AND... a list of further books to read on each of the theories discussed, with both old and new references.

I love this book and I will definitely be rereading it again (or parts of it) soon. I need to let all the knowledge simmer for a bit before retackling it. It reaffirmed my deep interest in Postcolonial Theory and introduced me to a new field: Ecocriticism. It piqued my interest in Lacanian Poststructuralism and to Deconstructionism, and I hope I walk away with a slightly better understanding of Foucault's Theories.

[Viktor · Rating 4 out of 5]

this book reminded me of everything i should’ve remembered from Jürgen Pieters’ ALW2 class, and much much more. at times the many different disciplines of literary criticism can seem daunting to dissect, but this book takes its time to break down the most important disciplines into their most important constituents. each chapter also concludes with a bibliography for further reading, which is very helpful if you want to deepen your knowledge of a certain work or thinker. the style is easy and the structure clear, i really couldn’t wish for more from an ‘introduction to’ type of book (for being only ‘the basics’, i found this book covers quite a lot of ground, and more often than not it steps into the other disciplines which have been so important in defining literary theory: philosophy, psychology, sociology, anthropology and so on and so forth).

an essential for all my Taal- en Letterkunde friends out there! you really get much more from this book than a simple history of literary theory

[Maho · Rating 5 out of 5]

Honestly, I haven’t read many books on theory, rather, I’ve tried reading some articles which are always difficult to grasp. However, Bertens employs a sophisticated but still comprehensible language in explaining whose theory is related to literature in what way. I’ve read the 2nd edition of the book but there’s the 3rd one, in which Bertens touches upon more things as you can assume. This book is a must for undergraduates, MA & phd students or instructors.
Still, though, there’s just one missing part and I think it’s important. If the book had more practical exemplifications of theories in reference to specific novels/plays/stories &c, I think it would be absolutely fantastic.

Overall, definitely get this book.

[Hossein · Rating 4 out of 5]

برای من که تقریبا چیزی از این حوزه نمی‌دانستم کتاب سختی بود و بیشتر مطالب‌اش جدید بود. خیلی از اوقات مفاهیم را دقیق متوجه نمی‌شدم و سعی می‌کردم بیرون کتاب هم کمی جست‌وجو کنم. با این‌که آخرش هم بعضی بخش‌ها برایم نافهمیده باقی ماند، به نظرم ارزش‌اش را داشت که یک‌ بار هم که شده آدم تلاش کند این چیزها را درک کند. مخصوصا چند نکته‌اش را ضمن خواندن آثار ادبی دیگر در نظر گرفتم که همین برایم کفایت می‌کند.

[Michael Haase · Rating 2 out of 5]

This is honestly one of the most offensive and appalling books I've read. I've never seen a non-fiction text so perversely warped and self-contradictory in my life. Although the author claims to express diverse perspectives in terms of literary analysis, the vocabulary is chalk full of subtle ideological persuasion, directing the reader towards his own personal beliefs. This is all the more revolting as the author presents the idea of ideological persuasion, condemning it even while he commits the selfsame action. There are many criticisms I could make about this book, but this the most enervating.

This almost subliminal persuasion is most apparent in his particular choice of words. For example, using the words"obey" and "loyal" as opposed to "follow" and "firm", for the negative connotations the former bear. He uses them (ironically) to paint an individual as brainwashed by a system of beliefs which he wishes to depict as corrupt. He cites a hundred different theorists by name and portrays them as heroes, using positive or negatively connotative terms to shape the readers opinion to agree with him. Using the phrase "not uncontested", for instance, instead of simply "contested" or better yet"challenged" to describe contrasting opinions, designates roles in a hierarchy as both the former, again, bears negative connotations.

Moreover, he persistently includes the reader in his personal interpretation by his usage of the first-person plural pronoun, 'we'. It's always 'we' are like this, 'we' see the world as this. Who is this 'we'? Does the author think he can speak for me when he says 'we'? What authority gives him the right to say that? In short, his language is far from impartial, something which is unacceptable for such a text as this.

Other complaints about the text I have are Bertens idol worshiping, attribution of ideas to specific figures in history, insistence of SJW themes, pedantic use of theoretical jargon, and abstract manner of describing theories. Throughout the text you'll see name after name ad naseaum, supposed theorists associated with inventing ideas. Of course, an idea can't be invented, just as 'theorist' as a title is totally arbitrary, and the whole system of social and literary theory as a profession is nonsense, but Bertens maintains a steadfast adherence. He ascribes the idea that words are used to describe objects or the idea that story telling often follow a particular formula to specific people (from the 19th century no less)! This is more than just ridiculous, it's outright insulting. I came up with these same ideas just from my own experience and reasoning! Where's my accreditation?

This is just like when a person patented the wheel in 2001 as a "circular transportation facilitation device."

All this jargon and name citing seems pandering and lowly to me.

But even if these ideas came to you as new and astonishing, which they shouldn't if you have a functioning brain and even a little experience with classic art, it's impossible to get behind any of them since they're so poorly delineated. Bertens dwells in abstraction and uses metaphors and analogies instead of concrete examples.

It's all the same in the end because no person should have a serious reason to read this text unless it was assigned for a class. Everything in its pages could be ascertained by just reading literature and thinking about what you read. You don't need a certified thinker to tell you what or how to think, nor do you need to read this to know how to read fiction.

[Monica · Rating 4 out of 5]

This book tells the reader how literature became worthy and how history has shaped what we see as 'good' literature. It gives outlines for the main theories (Feminism, Marxism, Race and Postcolonial), but it also shows (relatively) new theories such as Queer Theory and Ecocriticism (environment and animals). This book gives the reader a good overview with great quotes, while suggesting other books if you need to go further into the subject.

[BonGard · Rating 2 out of 5]

کتابی خسته‌کننده و کاملن مناسب کلاس‌های خسته‌کننده آشنایی با نظریه‌ها. شاید بهترین فصل فصل آخرش بود که اونم خیلی دیر شده بود

[Rachel · Rating 4 out of 5]

This relatively brief text offers a reasonably thorough introduction to the basics of literary theory -- in that, it does an excellent job of living up to its title. As its discussion of literary theory is somewhat perfunctory, this book is not recommended for the more advanced student, who likely requires greater depth of analysis. However, for those just starting out or wishing simply to dabble in literary theory, this introductory text provides an excellent starting point.

Bertens grounds his discussion in the intersection of literary interpretation and literary theory, and addresses the major bodies of literary criticism in chronological order over the past century. Each chapter addresses one major critical trend or school, and lists the seminal texts and authors of each, as well as their specific contributions and main ideas. At the end of each chapter, a brief summary reiterates some of the more sentient points, and situates the critical school in the context of criticism and theory more broadly.

Perhaps most appealing in this volume is Bertens' rumination on the relevance of each of these different theories to today's reading experience. He includes modern trends, such as queer studies and ecocriticism, and reminds the reader to always consider critical approaches in the context of the period from which they arise: "The basic assumptions underlying the 'reality' of our grandparents have to a large extent and beyond doubt been shown to be constructed" (p. 212). By the end of the book, the reader should have a good preliminary sense of both the history of literary theory/criticism, and its relevance to a contemporary reading experience at any point over the last century... as well as a starting point for further critical study. For such a small volume, this is quite an accomplishment.

[Songrui Zhang · Rating 4 out of 5]

The most confusing and dense book I have ever read, second to only the actual theoretical works that this book actually refers to.

It's confusing perhaps because the concepts are hard, and they are hard to wrap your head around because you are simultaneously challenging so many assumptions at once that you start question your own thoughts as well.

If you're a uni student like me, make sure to read this when you have a clear mind. And if your brain ever starts to hurt (which it would, don't worry it's normal) go take a walk or relax or something, because this is a book you'll need total attention for.

[Ardalan · Rating 4 out of 5]

فارسی در ادامه

This was my first read on Literary theory and naturally, I was looking for a book aimed at first time readers and “the basics” on the book cover, made me think I had found the right one to begin with. Then, in the beginning chapters I saw It wasn’t the best choice for that purpose but interestingly, it was written in such clarity that managed to keep me engaged till the end! Actually, it seemed like the author had a wealth of knowledge on the matter and was very apt for writing such book and that he could go for even a more basic level for the sake of readers like me ;)
I particularly enjoyed the chapters on post structuralism and only wish the author wouldn’t stop talking!
Even though I can’t claim I understood 100% of the materials but interestingly, at the end, I felt I learned more than what I expected as literary theory proved to be more than what classically is considered as literature and guess this can surprise other first time readers as well when the title “Literary theory” will limit their expectations.
Therefore, on a broader perspective, I’d recommend this book to anyone who wants to have a more critical view of human interactions considering that literary theories are about texts and texts are about language –which take many forms from daily conversations to movies and literature- and language relates to what we think and what we think –consciously or unconsciously- depends on what and who we are.
So, at the end, I understood literary theories are much more related to our lives than what the name suggests and thanked my curiosity to take me to such far realms as literary criticism! :D
I will definitely come back to this book for a second read after reading some other ones on the subject.

 ***

یکی از معدود ترجمه هایی بود که در این چند سال خوندم و یک جای کار پرتش نکردم تا برم نسخه اصلی رو بخونم و اگر هم به نسخه اصلی نگاه کردم جهت کنجکاوی بوده و تازه احساس کردم یه چیزی هم از معادل سازی های بجای مترجم یاد گرفتم و ازین جهت دوست دارم به احترام نام جناب محمدرضا ابوالقاسمی رو برای چنین ترجمه پاکیزه و خوش خوانی اون هم برای موضوعی که طبعا ترجمه آسونی نداره بیارم. واقعا درین وانفسای ترجمه های نامطلوب و گاها آزاردهنده بازار کتاب، دیدن یک ترجمه خوب آدم رو به وجد میاره. و اما در ارتباط با محتوا، همون طور که در بالا اشاره کردم فکر می کنم این کتاب برای افرادی که یک آشنایی پیشینی با موضوع دارند مناسب تر باشه

[Savannah Noel]

yes, this text covers “the basics,” but it is certainly not introductory—so don’t be misguided like I was! still a great resource. i especially loved the suggestions for further reading at the end of each chapter. i do wish that more literary references were made and elaborated upon in relation to each branch of theory, but dummies like me usually need more examples anyway so that’s a personal problem

[Broheros · Rating 4 out of 5]

4.0 stars

A very accessible and informative introduction to literary theory! Bertens covers a wide variety of literary theories. I enjoyed most of this book, but some sections really just lost me, mostly due to the complexity or repetitive ideas in certain theories. Would highly recommend to anyone interested in an approachable introduction to literary theory! (The 4th edition is out as of writing this, I have no idea how it compares, or if it adds any new theories.)

[The Half-blood Reader]

College reads: I only read chapters/sections relevant to my studies, hence the dnf (The Postructuralist Revolution - Derrida, deconstruction, and postmodernism)

[titi · Rating 4 out of 5]

never has literary theory been this interesting

[Ryan · Rating 2 out of 5]

In some ways, a useful primer but it shows it's age in it's discussions of gender and sexuality and it's discussion of post colonial theory. Given it discusses the formulation of biases through various means, it's clear and notable biases that are seen in these chapters make for something resembling parody.

The fact that an entire chapter that has it's crux in Gender Trouble by Judith Butler never uses the term 'transgender' or considers the idea of transition of gender is actually somewhat fascinating. Creating a 'queer theory' that is only LGB and completely avoids the T is confounding and falls deeply into the traps it is discussing.

I wasn't sure how to rate this one, because outside of these, I think pretty notable, criticisms, this does introduce several concepts well. But it's faltering on the rocks of queerness and imperialism calls into question if there aren't major gaps and privileging of POVs that I'm less familiar with than those in other chapters.

It's worth noting the audiobook involves a bizarre choice of a British accented reader going into an 'American accent' whenever quoting an American writer that is both distracting and poor. That choice is made all the worse when he tries to do the same with a Jamacian writer being quoted in dialect. It was alarmingly racist and further made the text seem unsettling, perhaps much moreso than the text would have by itself.

[Bahman Bahman · Rating 2 out of 5]

هانس برتنس در این اثر تقریبا کلیه مضامین و مفاهیم نظریه ادبی را از قرن نوزدهم تا به امروز بررسی می‌کند و با مثال های فراوان ابعاد هر یک از آنها را به بحث می‌گذارد. وی با نگاهی تاریخی و انتقادی به معرفی نقد عملی، نقد نو، نقد سیاسی، فرمالیسم، ساختارگرایی، پسا ساختارگرایی، پسامدرنیسم، تاریخ گرایی نو، ماتریالیسم فرهنگی، نظریه پسااستعماری و سکسوالیته می‌پردازد و از شرایط شکل‌گیری هر یک از آنها گزارشی خواندنی ارائه می‌دهد. مطالعه این کتاب می‌تواند برای فهم بسیاری از پیچیدگی‌های نظریه ادبی راهگشا باشد و خواننده را با چهره‌ای متفاوت از ادبیات و تحولات آن آشنا کند.

[Negar Safari · Rating 5 out of 5]

کتاب های تئوری به خصوص در باب نظریه و نقد ادبی باید ترجمه‌های علمی، روان و درستی داشته باشند و من ترجمه این کتاب را خیلی پسندیدم. با خواندن این کتاب خیلی خوب رویکردهای مختلف نقد در ادبیات و چرایی و فلسفه اتخاذ آن رویکرد را از نقد نو تا پسانظریه یاد می‌گیرید.

[Mohammad Mirzaali · Rating 3 out of 5]

کتاب مفیدی که از آرای متیو آرنولد و نقد نو، تا ساختارگرایی و پساساختارگرایی را پوشش می‌دهد. شاید به همین دلیل هم باید کتابی مقدماتی دانستش

[Stipe · Rating 5 out of 5]

Incredible book. It helped me a lot with all my literary theory troubles. Insightful, enjoyable and easy to read.

[guilhereme silva · Rating 4 out of 5]

The first (and probably the last) time I vaguely understood an old man preaching about literary theory.

[Gijs Limonard · Rating 5 out of 5]

4,5 stars; excellent primer and overview of what has become the narratological enterprise; Bertens helpfully discusses the history of the study of literary theory all the while keeping a keen eye on balancing his writing just right; not too academic, but with enough depth to entertain and inform the interested reader. On narratology, be sure to also check out; Narratology: Introduction to the Theory of Narrative and Into the Woods: A Five Act Journey Into Story.

[Emilie Nygård Berg · Rating 4 out of 5]

I read this whole book for my syllabus in LIT2000: (Litteraturvitenskapelige Grunnlagsproblemer). I wish it had a little timeline overview with the theories, etc. to get a better grip of the material, but except that I found the book helpful. A bit difficult in the start but it got better. I enjoyed chapter 4 "Political reading: class, gender and race in the 1970s and 1980s", chapter 6 "Poststructuralism continued: Foucault, Lacan, French Feminism, and postmodernism", chapter 9 "sexuality, literature and culture", and chapter 10 "posthumanism, ecocriticism and animal studies". All of them about either gender, ecology, feminism, and Marxism.

I feel like it's lacking a little in the most recent 20 years of theory in literature and hope they added that in the 4th edition last year. I couldn't get a hold of it and it was the 3rd edition that was on the syllabus.

[Ulee ☄︎ · Rating 3 out of 5]

Listened on Everand, not a CD

I need to re-read the book, but in written form not the audio book.

The content is interesting, but the narrator kept putting on bad accents that threw me off. His “American” accent sounded like a caricature. It hurt to listen to and I have no idea what he was saying during those times because I was focusing on the pain it gave me. I kept wondering if I was listening to satire. Sometimes he did a feminine voice for women, who I assumed were British because when he quoted an American woman, he did the same American accent as before. Around ch 9 or 10 he quoted a Jamaican woman and changed his voice to a fake Jamaican accent and I nearly died. From that point on I couldn’t take the book seriously. I only kept going to be able to say the book was done.