320 Key Terms in Critical Literary Theory

320 Key Terms in Critical Literary Theory

Definitions, usage, and examples — organized by school and approach. Search any term. Click a card to expand.

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Psychoanalytic Criticism

20 terms

The part of the mind that contains repressed desires, memories, and instincts unavailable to conscious awareness.

Analyze texts for latent content beneath the surface narrative.

Freud’s model applied to dreams in literature or repressed motives in characters.

The psychic process of pushing unacceptable desires or memories out of conscious awareness.

Explain gaps, silences, or obsessive returns in a text.

A character’s inability to name a trauma points to repression.

The child’s desire for the opposite-sex parent and rivalry with the same-sex parent.

Map family dynamics and identity formation in narrative.

Hamlet’s relation to Claudius and Gertrude often read through the Oedipus complex.

The instinctual, pleasure-seeking part of the psyche according to Freud.

Identify raw drives and impulses in characters or narrative energy.

Uncontrolled desire or violence as expressions of the id.

The rational, mediating part of the psyche that negotiates between id, superego, and reality.

Examine how characters manage conflicting demands.

A protagonist’s calculated compromises as ego work.

The internalized parental and social authority that produces guilt and ideal standards.

Trace moral judgment, shame, and idealization in texts.

Harsh self-criticism or punitive endings as superego effects.

In dream-work (and by extension texts), the compression of multiple ideas into a single image.

Read dense symbols as overdetermined.

A single object standing for several repressed meanings.

The shifting of psychic intensity from an important object to a trivial one.

Explain apparently minor details that carry heavy emotional weight.

A trivial object that obsesses a character.

The processes (condensation, displacement, secondary revision) that disguise latent dream thoughts.

Treat narrative as a kind of dream to be interpreted.

Surface plot as manifest content; subtext as latent.

Freud’s sense of the strangely familiar; the return of the repressed in everyday form.

Account for eerie effects that feel both known and alien.

Doubles, automata, and haunted houses as uncanny.

Attributing one’s own unacceptable feelings to another person or object.

Analyze scapegoating or demonized figures.

A character who insists another is hostile while denying their own aggression.

The redirection of feelings from one person (often a parent) onto another (analyst, character, text).

Consider reader or character attachments as transferential.

Intense identification with a fictional figure.

The reappearance of repressed material in symptomatic form.

Explain compulsive patterns, ghosts, or recurring motifs.

A secret that will not stay buried.

The investment of psychic energy in an object, idea, or person.

Map where narrative energy is concentrated.

Obsessive focus on a single love-object or goal.

A seemingly insignificant memory that stands in for a more significant repressed one.

Treat minor recollections as covers for deeper material.

A trivial childhood scene that the text keeps returning to.

An error in speech or action that reveals unconscious wish.

Read verbal mistakes or “accidents” in dialogue as meaningful.

A character who says the wrong name at a crucial moment.

Freud’s late concept of a drive toward inorganic stillness or destruction.

Interpret self-destructive or aggressively destructive patterns.

Characters who court their own ruin.

The life drive toward binding, creation, and pleasure.

Counterpoint to the death drive in textual energy.

Forces of connection, love, and generation in the work.

A symptom or image caused by multiple converging factors.

Refuse single-cause explanations of textual elements.

A symbol that can be read in several psychoanalytic registers at once.

The process that gives dream (or narrative) a more coherent, logical surface.

Separate polished surface from underlying disorder.

A tidy plot that smooths over psychic chaos.

Lacanian Psychoanalysis

20 terms

The realm of language, law, and social structure that structures subjectivity.

Locate the subject within linguistic and social systems.

A character’s entry into language or law as entry into the Symbolic.

The realm of images, identification, and the ego’s illusions of wholeness.

Analyze mirror relations, doubles, and idealized self-images.

Narcissistic identification with an idealized figure.

That which resists symbolization; the traumatic kernel outside language.

Point to what the text cannot say or what disrupts its order.

Moments of breakdown, trauma, or the unspeakable.

The infant’s identification with its mirror image, founding the ego.

Read scenes of recognition, reflection, or misrecognition.

A character confronting their image and misrecognizing themselves.

For Lacan, desire is the desire of the Other; it is structured by lack.

Trace desire as never fully satisfied and always mediated.

A quest that cannot reach its object because the object is constituted by lack.

The constitutive absence that founds the subject and desire.

Explain why fulfillment is structurally impossible in the text.

The missing object that organizes the whole plot.

The paternal signifier that introduces the Law and castration into the Symbolic.

Analyze authority, prohibition, and the installation of social order.

The father’s name or law that structures the family and the text.

A painful, excessive pleasure beyond the pleasure principle; enjoyment tied to the Real.

Identify moments of unbearable intensity or transgressive enjoyment.

A character’s self-destructive ecstasy.

The object-cause of desire; the unattainable remainder that sets desire in motion.

Locate the partial object that the subject circles around.

The elusive object that the protagonist cannot possess yet cannot abandon.

The Symbolic order as the locus of language, law, and presumed knowledge.

Treat the social/linguistic system as the ‘Other’ that the subject addresses.

A character who speaks as if to a big Other that guarantees meaning.

The process by which the subject is ‘stitched’ into the signifying chain and the social order.

Examine how identification and ideology close the gaps in the text.

Narrative techniques that make the viewer/reader feel continuous with the fiction.

The subject divided by language; never identical with itself.

Refuse unified character psychology; emphasize division.

A character whose speech betrays an internal division.

The master signifier that temporarily stabilizes the sliding of meaning.

Identify terms that momentarily fix an ideological field.

A slogan or name that organizes a whole discourse.

Not the look of a subject but the object-gaze that looks back from the field of the Other.

Analyze moments when the subject feels looked at by the world or the image.

A painting or scene that seems to regard the viewer.

The distinction between the act of speaking and what is said; the subject of the énonciation is not the subject of the énoncé.

Separate the speaking position from the content of speech.

A narrator whose telling undermines what is told.

Not the biological organ but the master signifier of lack and desire in the Symbolic.

Treat ‘phallic’ power as a signifying function, not a thing.

Authority that rests on a signifier rather than a substance.

The scenario that stages the subject’s relation to the objet a and supports reality.

Read plots as fantasy structures that organize enjoyment.

A narrative that lets the subject sustain a particular relation to lack.

In late Lacan, the idiosyncratic knotting that holds the subject together beyond meaning.

Look for the singular, non-interpretable trait that stabilizes a character or text.

A repeated gesture or symptom that is not ‘cured’ by interpretation.

The noisy, jouissance-laden aspect of language beyond communication.

Attend to sound, puns, and the material of the signifier.

Wordplay that produces enjoyment rather than clear meaning.

Lacan’s formalization of social links (Master, University, Hysteric, Analyst).

Map relations of power and knowledge in texts and institutions.

A text structured like the discourse of the Master or the Hysteric.

Feminist Criticism

20 terms

A social system in which men hold primary power and predominate in roles of political leadership, moral authority, and control of property.

Analyze how texts reproduce or challenge male dominance.

Family structures, inheritance, and voice in the novel as patriarchal.

The view that gender is socially produced rather than simply biological.

Separate sex from the cultural meanings attached to masculinity and femininity.

Characters who perform or refuse expected gender roles.

Laura Mulvey’s concept of the visual regime that positions woman as object of a masculine looking subject.

Critique how visual and narrative codes objectify women.

Camera work or description that fragments the female body for a presumed male viewer.

Cixous’s and others’ idea of a writing practice that disrupts phallocentric language from the place of the female body and experience.

Value experimental, bodily, non-linear forms associated with women’s writing.

Texts that privilege fluid, non-hierarchical, sensual language.

Gilbert and Gubar’s figure of the confined, angry double of the angelic woman in nineteenth-century literature.

Read the monstrous or mad female figure as the repressed side of ideal femininity.

Bertha Mason as the dark double of the angel in the house.

The insight that gender oppression intersects with race, class, sexuality, and other axes of power (Crenshaw and others).

Avoid treating ‘woman’ as a single, homogeneous category.

A Black woman’s experience that cannot be reduced to gender or race alone.

The Victorian ideal of the self-sacrificing, pure, domestic woman (Coventry Patmore; critiqued by Woolf and others).

Identify and critique the ideal of feminine self-erasure.

The perfect wife who has no desires of her own.

The organization of meaning and power around the phallus as privileged signifier.

Challenge the centrality of masculine models of subjectivity and language.

Literary canons and theories that take male experience as universal.

The claim that knowledge is shaped by social position and that marginalized standpoints can offer critical insight.

Value the epistemic advantage of women’s (and other) situated experience.

Reading from the position of the silenced or peripheral character.

Beauvoir’s analysis of woman as the inessential Other constructed by man as Subject.

Examine how texts make the male the norm and the female the deviation.

‘He’ as the universal subject; woman as relative.

Showalter’s project of studying women’s writing as a distinct tradition and culture.

Recover and analyze female literary traditions on their own terms.

Histories of women’s genres, themes, and forms.

Butler’s argument that gender is produced through repeated acts rather than expressing an inner essence.

Read gender as doing rather than being.

Characters whose gender is shown as sustained performance.

Kristeva’s concept of that which is expelled from the clean and proper body/subject and yet threatens its borders (often linked to the maternal).

Analyze horror, disgust, and the maternal body in texts.

Images of bodily fluids, decay, or the maternal that unsettle identity.

A feminist ethical approach that prioritizes relationships, care, and responsibility over abstract rights.

Value narratives of interdependence and maintenance rather than only heroic autonomy.

Stories that center nursing, sustaining, and relational labor.

The feminist insight that private, domestic, and bodily experience is shaped by power structures.

Refuse the split between private feeling and public politics in analysis.

Domestic scenes read as sites of political struggle.

Walker’s and others’ term for a Black feminist or feminist-of-color perspective that centers race and community.

Attend to the specificities of women of color’s experience and art.

Texts that cannot be read adequately through white feminist frames alone.

Rich’s idea of a range of woman-identified experience that is not limited to genital sexuality.

Broaden the field of female bonding and resistance to compulsory heterosexuality.

Intense female friendships as politically significant.

Rich’s argument that heterosexuality is enforced as a political institution rather than simply chosen.

Question the naturalization of heterosexual plots and outcomes.

The marriage plot as compulsory rather than free.

Approaches that combine feminist analysis with attention to economic and class structures.

Link gender oppression to labor, property, and production.

Women’s unpaid domestic labor in the political economy of the text.

The idea that the body is inscribed by culture and can be read as a site of meaning and power.

Analyze bodily marks, disciplines, and representations.

Scars, clothing, and posture as social writing on the body.

New Criticism

20 terms

The detailed, sustained analysis of the words on the page without primary reliance on external context.

Make the text itself the main evidence for interpretation.

Line-by-line attention to diction, imagery, and syntax.

Wimsatt and Beardsley’s claim that the author’s intended meaning is not the proper standard of interpretation.

Refuse to settle meaning by appeal to what the author ‘meant.’

A reading that stands even if the author would reject it.

Wimsatt and Beardsley’s claim that the reader’s emotional response is not the proper standard of the text’s meaning or value.

Separate the work’s structure from the feelings it produces in a particular reader.

Judging a poem by how it makes you feel is fallacious for New Critics.

The principle that all parts of a successful work contribute to a complex, integrated whole.

Show how every element serves the total design.

A poem in which image, meter, and irony form one coherent organism.

In New Criticism, a balance of attitudes or meanings that produces complex, mature statement.

Value texts that hold conflicting attitudes in tension.

A speaker who is both sincere and self-aware.

A statement that seems self-contradictory but reveals a deeper truth; prized as a mark of complex poetry.

Locate and unfold paradoxical formulations.

‘I burn and freeze’ as concentrated poetic truth.

Empson’s and New Critical interest in multiple simultaneous meanings that enrich the text.

Prefer complexity of meaning over single paraphrase.

A word that means two things at once and both matter.

Tate’s term for the integral balance of conflicting elements in a poem.

Analyze the dynamic equilibrium of opposing forces in the work.

Abstract and concrete, denotation and connotation held together.

Brooks’s claim that the meaning of a poem cannot be reduced to a prose statement without loss.

Insist that form and content are inseparable.

Any summary that discards the poem’s particular language fails.

Ransom’s distinction between the local, particular details (texture) and the logical argument (structure).

Attend to both the argument and the rich local surface.

The logical paraphrase versus the density of imagery and sound.

Eliot’s idea (adopted in practice) that emotion is expressed through a set of objects, situations, or events that formulaically evoke it.

Look for the concrete formula that carries feeling.

A set of images that objectively stand for a state of mind.

Eliot’s diagnosis of a historical split between thought and feeling in poetry after the Metaphysicals.

Value poetry that reunites intellect and emotion.

A poem in which ideas are felt and feelings are thought.

Brooks’s emblem of the poem as a completed, self-sufficient aesthetic object.

Treat the work as an autonomous verbal icon.

The poem as a closed, perfected structure.

Wimsatt’s term for the poem as a self-contained linguistic object.

Focus analysis on the internal relations of the language.

The text as an icon rather than a statement about the world.

New Critical criteria of value: the ability to hold diverse, even conflicting, materials in unity.

Prefer works that do not simplify experience.

A poem that acknowledges irony and still affirms.

The assumption that the best works are those of greatest formal complexity and unity.

Select and rank texts by formal achievement.

The preference for metaphysical and modernist density.

Criticism that stays within the boundaries of the work itself.

Minimize biography, history, and reader psychology as evidence.

A reading that cites only the text.

The view that a poem is a dramatic situation with a speaker, conflict, and resolution.

Analyze the dramatic situation of the lyric.

Who is speaking to whom, under what pressure?

The interplay of literal and associated meanings that New Critics track closely.

Map the semantic richness of key words.

A word’s dictionary sense plus its aura of associations.

The idea that the particular in art embodies the universal.

Show how specific images carry general significance without losing particularity.

A single rose that is also the idea of beauty or love.

Marxist Criticism

20 terms

The economic base (forces and relations of production) and the cultural/ideological superstructure that arises from and reacts upon it.

Relate literary forms and ideas to material conditions of production.

The novel as a form linked to the rise of the bourgeoisie.

In Marxist usage, the system of representations that naturalizes the existing relations of production and class power.

Unmask how texts make unequal relations seem natural or inevitable.

A happy ending that reconciles class conflict without changing the structure.

The conflict between social classes as the motor of historical change.

Read plots and conflicts as displaced or direct expressions of class antagonism.

Master–servant or owner–worker conflicts as class struggle.

Marx’s analysis of how social relations between people appear as relations between things (commodities).

Examine how texts treat objects, money, or market relations as having a life of their own.

Characters who relate to each other primarily through things they own or buy.

The process by which human relations and activities take on the character of things.

Critique the objectification of people and social processes in literature.

Workers reduced to ‘hands’; feelings packaged as products.

The worker’s estrangement from the product, the process of labor, species-being, and other people under capitalism.

Trace figures of estrangement, isolation, and loss of control.

The factory worker who does not recognize himself in what he makes.

Gramsci’s concept of the dominance of a class secured not only by force but by consent and cultural leadership.

Analyze how texts secure consent to the ruling order.

Popular culture that makes the existing hierarchy feel common sense.

The distorted understanding of social relations that prevents the subordinated from seeing their real interests.

Show how characters or narrators misrecognize their situation.

A character who believes the system is fair while being exploited by it.

The older Marxist idea that literature reflects the economic base or class situation of its time.

Relate literary content to historical class conditions (with care for mediation).

The realist novel as a mirror of bourgeois society.

The complex, indirect ways in which economic and social forces are transformed into cultural forms.

Avoid crude reflection; attend to form, genre, and institution as mediators.

How the market for novels shapes narrative structure.

The idea that culture and ideology have a degree of independence from the economic base while still being determined by it in the last instance.

Allow for formal and ideological complexity without abandoning material determination.

A text that both resists and reproduces dominant ideology.

Adorno and Horkheimer’s analysis of mass culture as standardized, commodified production that integrates the masses into capitalism.

Critique popular forms as instruments of social control.

Formulaic entertainment that absorbs and neutralizes dissent.

The distinction between a thing’s usefulness and its value in exchange as a commodity.

Examine how texts stage the conflict between living use and market value.

A home that is both shelter and real-estate asset.

The marginalized, often criminalized population outside the formal working class.

Attend to figures who fall outside respectable class categories.

Vagabonds, criminals, and the chronically unemployed in the text.

A method that reads contradictions, negations, and historical process in the text and its world.

Prefer dynamic, contradictory readings over static ones.

A novel whose form and content are at odds in a historically revealing way.

The practice of exposing the social interests and power relations encoded in cultural forms.

Make visible what the text takes for granted.

Unmasking the class interests served by a particular happy ending.

Jameson’s idea that texts are symbolic acts that resolve, in imaginary form, real social contradictions.

Read narrative as a socially symbolic act.

A romance plot that ‘solves’ a class contradiction by marriage.

The Marxist aim of grasping the social whole in its interconnectedness.

Resist fragmented or purely local readings; relate part to whole.

A reading that situates a detail in the total system of the work and its society.

The process by which literary works become commodities in a market.

Analyze the text’s relation to its own status as a market object.

The bestseller as both art and product.

Writing that aims to express working-class experience and advance class struggle.

Evaluate texts by their relation to working-class life and politics.

Novels of strike, factory, and collective action.

Anarchist Criticism

20 terms

The rejection of illegitimate hierarchy and coercive authority in social and cultural analysis.

Question every form of power that cannot justify itself to the free individual and the community.

A reading that refuses to naturalize the king, the father, or the state.

Kropotkin’s principle of cooperation as a factor in evolution and a basis for social organization.

Value textual images of voluntary cooperation over competition and domination.

Communities that survive through reciprocal help rather than command.

Action taken by people themselves rather than through representatives or the state.

Prefer narratives of self-organized resistance to appeals to higher authority.

Workers who occupy rather than petition.

The view of the state as an apparatus of coercion serving ruling interests rather than a neutral arbiter.

Critique texts that legitimize or romanticize state power.

The police, army, and bureaucracy as forces of domination.

The ideal of free, federated groups formed by consent rather than compulsion.

Highlight fictional or utopian experiments in non-coercive organization.

A commune or affinity group that runs by agreement.

The idea that exemplary acts can inspire and educate more than words alone.

Read dramatic acts of resistance as communicative and pedagogical.

A defiant public act that changes the field of the possible.

Suspicion of political and aesthetic systems in which a few speak for the many.

Question narrative and political forms that silence the represented.

The leader who claims to embody the people.

The practice of embodying the desired future society in present forms of organization and culture.

Value texts and practices that already live the alternative.

A story that is organized as the community it advocates.

A small, autonomous group of people bound by shared commitment rather than formal hierarchy.

Notice small-scale, horizontal collectives in narrative.

A band of equals who act together without a commander.

Opposition to the idea that an enlightened elite must lead the masses to liberation.

Critique texts that place a superior guide over a passive people.

The revolutionary leader who substitutes himself for the movement.

The preference for local, federated decision-making over centralized command.

Favor spatial and political forms that distribute power.

A map of autonomous communes rather than a capital that rules.

Shared resources managed by the community rather than enclosed as private property or state domain.

Recover and defend textual and historical commons against enclosure.

Shared land, knowledge, or culture that is not for sale.

Opposition to capitalism that prioritizes popular self-activity over state seizure of the economy.

Distinguish libertarian from authoritarian anti-capitalisms.

Workers’ self-management rather than nationalization from above.

Anarchism as an ethical and aesthetic aspiration toward freedom and solidarity, not only a political program.

Read for the affective and ethical charge of free life.

Utopian moments that feel like freedom rather than only argue for it.

The anarchist insistence that socialist ends cannot be achieved by hierarchical, state-centered means.

Apply the same scrutiny to ‘progressive’ power as to conservative power.

A revolution that reproduces the barracks and the office.

The idea that complex, beneficial order can emerge without central design (related to but distinct from market claims).

Value emergent, bottom-up organization in texts.

A crowd or network that coordinates without a boss.

The sudden collective refusal that opens a space of possibility.

Attend to ruptures where ordinary power relations are suspended.

The strike, the riot, or the occupation that creates a temporary free zone.

Learning that develops autonomy rather than obedience.

Critique pedagogical relations that produce docile subjects.

A school or mentor that frees rather than molds.

The critique of compulsory, alienated labor and the valorization of freely chosen activity.

Read work as a site of power and potential refusal.

Characters who withdraw from or sabotage forced labor.

Solidarity across borders that does not pass through states or parties.

Prefer transnational affinities of the oppressed to nationalist or statist frames.

Workers or rebels who recognize each other across national lines.

Social Ecology Criticism

20 terms

The view that ecological crises are rooted in social hierarchies and that the domination of nature is continuous with the domination of human by human.

Link environmental destruction in texts to structures of hierarchy and control.

A landscape ruined by the same logic that ruins workers and communities.

The claim that the idea of dominating nature grows from the practice of dominating people.

Trace the parallel between social command and the treatment of the nonhuman.

The master of men who also ‘masters’ the forest.

First nature as the biological world; second nature as the cultural and social world that emerges from it and can be made hierarchical or ecological.

Analyze how second nature either extends or heals the wounds of first nature.

A city that either poisons or partners with its watershed.

An ethic that values difference and mutual dependence rather than hierarchy and reduction.

Prefer relations of complementarity over ranking in human and ecological relations.

Gender, age, and species differences as complementary rather than ranked.

The political project of confederal, directly democratic municipalities as the basis for an ecological society.

Imagine and critique political forms that could support ecological life.

A federation of free cities in balance with their bioregions.

The historical project of treating the nonhuman world as a realm to be conquered and used without limit.

Critique the ideology of conquest in exploration, industry, and narrative.

The frontier as a space to be subdued.

A society that has replaced hierarchy with free, ecological relations among humans and with the nonhuman world.

Use as a critical horizon against which present relations are judged.

A community that lives within the limits and gifts of its place.

The mutual shaping of social forms and natural conditions without reducing one to the other.

Avoid both environmental determinism and pure social constructionism.

A drought that is both natural and socially mediated in its effects.

The social-ecological insistence that population and scarcity claims often mask social inequality and hierarchy.

Resist readings that blame ‘humanity’ in the abstract rather than specific power structures.

Famine that is produced by distribution and power, not by mere numbers.

The view that tools and techniques embody social relations and can be hierarchical or liberatory.

Judge technologies by the social relations they presuppose and produce.

A machine that either concentrates power or distributes skill.

The city not as inherently anti-ecological but as a possible site of free, ecological culture if reconstructed.

Refuse simple rural nostalgia; imagine urban ecological futures.

A city that is a garden and a commons.

Orientation to the living region (watershed, ecosystem) as a scale of culture and politics.

Read place in terms of living systems rather than only political borders.

A story bounded by a river basin rather than a nation-state.

Extension of anti-hierarchical analysis to intimate and pedagogical institutions.

Connect domestic and educational power to ecological attitudes.

The authoritarian father and the stripped forest as related.

A society of complementary, non-hierarchical relations, invoked as a standard and a possibility rather than a lost paradise to be restored uncritically.

Use carefully as a critical ideal, not a romantic regression.

Forms of cooperation that do not require a chief.

The insistence that climate and extinction crises are produced by social organization, not by ‘nature’ or ‘humanity’ as such.

Always ask which social relations produce the damage.

Who benefits from the pipeline; who drinks the poisoned water.

The dual task of opposing domination and building alternative, ecological institutions.

Value texts that both resist and prefigure.

A novel that shows both the struggle and the free municipality.

Extending care and responsibility to the more-than-human world without erasing social difference.

Read human–animal and human–land relations as ethical and political.

A character who treats the river as a partner rather than a resource.

The historical accumulation of hierarchical institutions that shape even ‘green’ projects.

Beware ecological programs that leave hierarchy intact.

A green capitalism that still concentrates power.

The positive project of an ecological society as a guide for critique and action.

Allow the text to open onto possible free, ecological futures.

A closing vision of restored relations among people and land.

The social-ecological argument that scarcity and pressure are largely products of unequal consumption and power.

Challenge narratives that blame the poor for ecological harm.

The footprint of the rich versus the numbers of the poor.

Libertarian Municipalist Criticism

20 terms

A political theory and practice centered on directly democratic, confederal municipalities as the basis of a free society.

Evaluate literary and cultural forms by their relation to face-to-face democracy and confederation.

A city assembly that actually decides rather than a parliament of strangers.

The local civic community as the primary political unit, not the nation-state or the party.

Read urban and local space as potential sites of self-government.

The neighborhood that governs itself.

The voluntary federation of free municipalities for coordination without a central state.

Prefer horizontal, recallable coordination to centralized sovereignty.

A league of free cities rather than a capital that commands.

Decision-making in assemblies where citizens meet, speak, and decide in person.

Value narrative and dramatic forms that stage open deliberation.

The agora, the town meeting, the assembly in the square.

The rejection of the nation-state as the natural or necessary form of political life.

Demystify national identity and state sovereignty in texts.

The nation as an imagined community that demands sacrifice and obedience.

The strategy of building popular counter-institutions alongside and against the existing state.

Look for parallel structures of popular power in narrative.

Workers’ councils or neighborhood assemblies that rival official power.

The revival of citizenship as active participation rather than passive rights or consumer identity.

Critique the reduction of the citizen to voter or taxpayer.

Characters who act as citizens rather than subjects or clients.

Political relations based on mutual recognition of difference rather than command.

Prefer deliberative, plural forms to majoritarian or vanguard rule.

An assembly that seeks consensus and respects minority voices.

The freedom of communities to leave or join federations by choice.

Support narrative resolutions that preserve voluntary exit and entry.

A region that withdraws from a coercive union.

The argument that representation tends to become a new form of rule by a political class.

Question texts that treat voting for representatives as the fullness of democracy.

The deputy who no longer answers to the assembly that sent him.

The placing of economic life under the democratic control of the community rather than private capital or the state bureaucracy.

Imagine and assess economic forms accountable to the municipality.

Workplaces coordinated by the civic assembly.

Education aimed at forming capable, ethical participants in public life.

Value pedagogical and cultural forms that build civic capacity.

Schools and arts that train people for the assembly, not only for the market.

The recognition that the local can be parochial, exclusive, or oppressive if not federated and ethical.

Balance local power with broader solidarity and rights.

A municipality that excludes the stranger or the minority.

The city as the historical site of democratic and revolutionary breakthroughs.

Read urban uprisings and assemblies as central rather than peripheral.

The Paris Commune, the occupied square, the free city.

Mechanisms that keep delegates accountable and prevent the formation of a permanent political class.

Prefer institutional designs that limit the concentration of political power.

Delegates who can be recalled at any time.

The public sphere not only as media or opinion but as the physical and political space of meeting.

Recover the square, the hall, and the forum as political characters.

A novel whose climax is an assembly rather than a duel or a marriage.

The dual refusal of private capitalist power and state socialist centralization.

Distinguish libertarian municipalist horizons from both liberal and authoritarian left outcomes.

A revolution that does not end in the boardroom or the central committee.

The agreements that bind free municipalities in mutual aid and common defense without a superior sovereign.

Read treaties and alliances among equals rather than submissions to an empire.

A pact among free cities.

Membership in a political community defined by participation and place rather than blood or passport alone.

Open the category of the citizen to residents and participants.

The stranger who becomes a citizen by joining the assembly.

Libertarian municipalism as a patient, reconstructive practice rather than only a moment of revolt.

Value cultural work that builds lasting civic capacity and memory.

Institutions that outlast a single uprising.

Reader-Response Criticism

20 terms

Iser’s concept of the reader presupposed by the text’s structures of address and indeterminacy.

Analyze how the text designs a role for the reader to perform.

Gaps that the reader is invited to fill.

Jauss’s term for the set of cultural and literary expectations a reader brings to a work in a given historical moment.

Historicize reception; show how meaning changes with horizons.

A work that shocked its first audience and later seemed tame.

Fish’s idea that readers belong to communities that share strategies of interpretation and thus produce meanings collectively.

Explain agreement and disagreement in reading as social rather than purely individual.

A classroom or critical school that ‘sees’ the same things in a text.

Places in the text where information is withheld and the reader must supply connections.

Focus on what the text leaves open rather than only what it states.

A missing motive that the reader is compelled to invent.

The temporal experience of moving through a text, revising expectations, and constructing consistency.

Treat meaning as an event in time rather than a static object.

The way a mystery’s revelation reorganizes everything that came before.

The emotional and bodily reactions of the reader as relevant to interpretation.

Include feeling as evidence rather than dismissing it as subjective noise.

The dread or joy a passage reliably produces.

Holland’s idea that each reader has a characteristic pattern of defense and fantasy that shapes interpretation.

Acknowledge the personal psychology of reading without reducing the text to it.

A reader who always finds the same conflict in every book.

Rosenblatt’s model of reading as a transaction between reader and text in a particular situation.

Balance reader and text; neither is the sole source of meaning.

The same poem read differently in different life moments.

Bleich’s and others’ emphasis on the reader’s identity and associations as central to meaning.

Allow personal response as a starting point for shared inquiry.

A reading journal that begins with ‘this made me think of…’

The reader who refuses the position the text offers (Fetterley and others).

Value readings that push back against the text’s ideology.

A feminist reader who will not identify with the male hero’s view of women.

The range of meanings a text can support given its structures, as distinct from the reader’s horizon.

Keep a check on purely arbitrary projection.

A reading that the text’s language cannot reasonably sustain.

Iser’s term for the set of social, cultural, and literary norms the text and reader draw upon.

Map the shared and conflicting codes that reading activates.

Allusions and conventions the reader must know or learn.

Iser’s description of the reader’s moving perspective through the text.

Track how the reader’s position shifts as the text unfolds.

Identification that is later undercut or complicated.

The reader’s ongoing effort to make the text cohere.

Notice where the text helps or frustrates the desire for coherence.

A narrative that rewards or punishes the search for pattern.

Culler’s idea of the internalized knowledge of conventions that makes literary reading possible.

Treat interpretation as a learned, conventional skill.

Knowing how to read a sonnet or a detective plot.

The distinction between real historical readers and the role the text constructs.

Use both archival reception and textual analysis.

What real readers wrote in margins versus what the text seems to ask.

Barthes’s distinction between comfortable pleasure and disruptive bliss in reading.

Differentiate stabilizing and destabilizing readerly experiences.

A text that comforts versus one that unravels the reader’s certainties.

The shift of authority from authorial intention to the reader’s productive role.

Empower the reader without ignoring textual constraints.

Meaning as what readers do with the text.

Shared, dialogic interpretation in classrooms and communities.

Treat criticism as a social, not only solitary, act.

A seminar that builds a reading together.

The responsibilities readers have to texts, authors, and other readers.

Reflect on the moral dimensions of interpretation.

Refusing to reduce a marginalized text to a single political use.

Structuralist Criticism

20 terms

Saussure’s distinction between the underlying system of language (langue) and individual utterances (parole).

Analyze the system of conventions that makes a particular text possible.

The genre rules that a novel both uses and plays with.

The sound-image (or written mark) and the concept it is paired with in the sign.

Focus on the material and differential nature of meaning.

A word’s meaning as a function of its difference from other words.

The structuralist claim that meaning is produced through paired contrasts (raw/cooked, nature/culture, etc.).

Map the governing oppositions of a text or cultural system.

Light/dark, male/female, order/chaos as organizing pairs.

Lévi-Strauss’s minimal unit of myth, analogous to the phoneme in language.

Break myths and narratives into contrasting units and relations.

The same mytheme appearing across different versions of a myth.

Propp’s recurrent actions that define character roles in the folktale.

Identify the sequence of functions that structures the plot.

The hero’s departure, the donor’s test, the villain’s defeat.

Greimas’s six actants (subject, object, sender, receiver, helper, opponent) that structure narrative.

Reduce characters to their narrative roles in a system of relations.

The quest subject, the desired object, the opposing force.

Relations of combination in sequence (syntagm) and of substitution in a set (paradigm).

Analyze both the chain of the text and the sets of alternatives it draws from.

Why this word rather than its synonym; why this episode next.

The claim that the text is a product of the system of language and codes, not of a sovereign individual intention.

Shift attention from biography to the codes that speak through the text.

The author as a function of discourse rather than a source.

Barthes’s multiple codes (hermeneutic, proairetic, semic, symbolic, cultural) that structure the readable text.

Track how different codes weave the text together.

The enigma code that drives the desire to know ‘what happened.’

Greimas’s term for a coherent level of meaning produced by recurring semantic categories.

Identify the semantic threads that unify a text.

A text isotopically organized around ‘journey’ or ‘contamination.’

A signifier that is not fixed to a single signified and can be variously invested.

Notice terms that organize discourse while remaining open.

A political slogan that different groups fill differently.

The principle that elements have identity only through their relations of difference within a system.

Refuse essentialist definitions of characters or themes; define by contrast.

A hero who is a hero only in relation to a villain and a world.

A structural correspondence between different levels or systems (e.g., kinship and myth).

Map parallel structures across domains.

The structure of a novel homologous to the structure of a social institution.

The idea that the speaking subject is produced by language and social systems rather than existing prior to them.

Analyze characters and narrators as positions in a structure.

The ‘I’ that is a grammatical and social effect.

The structuralist view of story as a set of operations that transform an initial situation into a final one.

Formalize the logic of change in the plot.

From lack to liquidation of lack; from order to disorder to new order.

The shared knowledge and stereotypes that texts activate.

Make explicit the cultural encyclopedia the text assumes.

References that only a particular culture’s reader would catch.

The (pre-deconstructive) sense that structures have a center that organizes them while remaining outside the play of elements.

Identify the organizing center of a textual system.

A central term that seems to escape the oppositions it governs.

Propp’s systematic description of the invariant structure of a corpus of tales.

Apply morphological analysis to popular and literary narratives.

The thirty-one functions in a fairy tale or its novelistic variant.

Greimas’s logical square that generates relations of contrary, contradictory, and implication.

Expand binary oppositions into more complex logical structures.

Life/death generating undead and other intermediate terms.

Eco’s distinction between texts that tightly guide interpretation and those that invite multiple performances.

Classify how much freedom the text’s structure grants the reader.

A detective story that demands one solution versus a poem that sustains many.

Deconstructive Criticism

20 terms

Derrida’s term for the dual movement of difference and deferral that constitutes meaning; no element is present in and of itself.

Show that meaning is never fully present; it is produced by traces of other meanings.

A key term that depends on what it excludes and can never fully capture.

The mark of the absent other within every present element of the system.

Read every positive term as haunted by what it negates.

‘Presence’ as always already marked by absence.

That which is added to make up for a lack, and which thereby reveals that the original was never complete.

Show how the ‘secondary’ term is necessary to the ‘primary’ and unsettles it.

Writing as the supplement of speech that exposes speech’s own lack.

The structured opposition in which one term is privileged over the other (speech/writing, male/female, reason/emotion).

Invert and displace hierarchical oppositions rather than merely reversing them.

The privileged term’s dependence on the subordinate one.

An unpassable path; a moment of undecidability where the text’s logic blocks itself.

Locate points where the text cannot resolve its own contradictions.

A choice the narrative must make and cannot make cleanly.

The condition in which two or more readings are equally supported and mutually exclusive.

Refuse to close the text into a single coherent meaning.

A ending that can be read as both redemption and damnation.

The capacity of a sign to be repeated in new contexts, breaking with every original context.

Emphasize that meaning is always open to reinscription.

A quotation that means something new in a new place.

The Western philosophical preference for presence, origin, speech, and identity over absence, repetition, writing, and difference.

Critique the desire for pure origin and full meaning in literary and critical discourse.

The search for the author’s authentic voice as a metaphysics of presence.

The combined privilege of the phallus and of logos (reason, speech, word) in the tradition Derrida and feminist deconstruction critique.

Link the critique of logocentrism to the critique of patriarchal authority.

The authority of the word and of the masculine position as intertwined.

The secondary, excluded, or bordering elements that deconstruction shows are constitutive of the center.

Read prefaces, footnotes, and boundaries as theoretically central.

A preface that undermines the book it introduces.

Writing a word, crossing it out, and leaving both visible to mark that it is necessary yet inadequate.

Signal concepts that must be used but cannot be trusted.

‘Being’ under erasure.

The scattering of meaning that cannot be gathered back into a single theme or author’s intent.

Prefer proliferation of meanings to thematic unity.

A text that generates excesses of sense beyond any summary.

The structuralist center that organizes the system while claiming to escape its play; deconstruction shows it is also in play.

Demonstrate that the organizing principle is itself constituted by the system.

A master concept that is as differential as what it organizes.

The ethical dimension of deconstruction as openness to what exceeds the closed system of the same.

Read for the text’s relation to the absolute other or the unassimilable.

Hospitality to the stranger in language and narrative.

A reading that both reconstructs the text’s intended system and shows its points of undoing.

Practice the two-handed gesture of deconstruction.

First the strongest conventional reading; then its internal unraveling.

Terms (from Williams, usable in deconstructive cultural reading) for what is left over and what is newly forming outside dominant structures.

Attend to what the dominant system cannot fully contain.

Traces of alternative orders in the margins of the text.

The way texts are woven from other texts and can be grafted into new contexts.

Emphasize intertextuality as constitutive rather than optional.

A work that is a tissue of quotations.

The mark of the author that is both unique and necessarily repeatable and thus never purely proper.

Question the pure authenticity of the authorial signature.

The proper name that is always also a common noun in use.

The tension between the singular event and the iterable, machinelike structure that makes it possible.

Hold together singularity and repetition in the analysis of texts.

A unique performance that depends on repeatable codes.

The ethical demand to respond even when the decision cannot be grounded in a fully present rule.

Link deconstruction to an ethics of decision under undecidability.

Judging without the comfort of a final guarantee.

New Historical and Cultural Criticism

20 terms

Geertz’s method of interpreting cultural practices in rich contextual detail; adopted by new historicists.

Embed textual details in dense networks of cultural meaning.

A gesture or costume explained through its place in a whole way of life.

Greenblatt’s term for the exchanges of intensity, charisma, and power among texts, institutions, and practices.

Trace how energy moves between theater, court, religion, and market.

A play that borrows and returns energy to royal ceremony.

The new historicist emphasis on the transactions between literature and other social domains rather than one-way reflection.

See literature as both shaped by and shaping its world.

A text that appropriates and is appropriated by legal or medical discourse.

The short, often archival story that new historicists use to open a cultural problematic.

Begin with a striking historical fragment and let it reorganize the reading of the literary text.

A court record or travel note placed beside a scene from a play.

Foucault’s view (widely used in new historicism) that power produces subjects, knowledges, and pleasures rather than only repressing them.

Analyze how texts participate in the production of subjects and truths.

A confessional discourse that creates the ‘soul’ it claims to discover.

A historically specific system of statements, practices, and institutions that produces objects and subjects of knowledge.

Situate the text within the discourses that make its statements possible.

Medical, legal, and theological discourses that define the ‘mad’ or the ‘criminal.’

The debate over whether literary texts ultimately contain the social energies they release or effectively subvert power.

Weigh the text’s critical force against its recuperation by dominant interests.

A carnival scene that is both liberatory and licensed by authority.

Montrose’s chiasmus: texts are historical, and history is accessible only through textual traces.

Treat historical documents as texts and literary texts as historical events.

A state paper read with the same attention as a poem, and vice versa.

The claim that forms of selfhood are produced in specific historical conditions rather than being universal.

Historicize interiority, desire, and identity.

The ‘individual’ of the Renaissance as a different formation from the modern.

The British-inflected approach (Williams, Dollimore, Sinfield) that emphasizes ideology, dissent, and material conditions in cultural analysis.

Combine close attention to form with explicit political commitment and class analysis.

A reading that recovers suppressed voices and material struggles.

The view that representing is itself an act within relations of power, not a neutral mirror.

Ask who has the power to represent whom, and with what effects.

The colonized subject as represented by the colonial text.

The collection of documents and traces that both enables and constrains historical knowledge.

Reflect on what the archive includes, excludes, and how it is organized.

Silences in the archive as historically produced.

Greenblatt’s term for the process by which identities are formed in relation to authority and alien others in the early modern period.

Analyze characters and authors as fashioning selves within constraints.

A courtier or poet who constructs an identity through performance and writing.

The sense that ideology is not only false ideas but the way people live their relation to real conditions (Althusser, Williams).

Treat everyday practices and feelings as ideological.

Habitual gestures that reproduce a social order.

The movement of genres, tropes, and media across social domains.

Follow a form as it migrates from sermon to stage to novel to news.

A tragic structure reused in political propaganda.

The attempt to write history from the perspective of the excluded or defeated.

Recover alternative trajectories and suppressed possibilities.

A history of the defeated revolution or the silenced gender.

The domain of ordinary practices that cultural criticism treats as significant.

Elevate the mundane to analytic importance.

Meals, clothes, and street life as cultural texts.

The tension between subjects’ capacity to act and the structures that limit them.

Avoid both pure free will and pure determinism in historical reading.

A character who improvises within a tight set of rules.

The debate over reading the past in terms of present concerns versus reconstructing it in its own terms.

Negotiate the ethical and epistemic claims of both.

A reading that is honest about its present investments while still doing historical work.

Bourdieu’s space of positions and position-takings in which cultural producers struggle for capital.

Situate authors and texts in fields of rivalry and distinction.

A poet’s style as a move in a field of competing styles.

Lesbian, Gay, and Queer Criticism

20 terms

Sedgwick’s term for same-sex social bonds that may be continuous with or discontinuous from homosexual desire, often structured by the exchange of women.

Analyze male–male or female–female relations that organize plots and power.

The triangle in which two men bond through a woman.

The structure of secrecy and disclosure that has organized modern homosexual identity and knowledge (Sedgwick).

Read silences, codes, and coming-out narratives as structured by the closet.

A character whose sexuality is the open secret of the text.

The extension of Butler’s performativity to sexual identity as produced through repeated acts and citations.

Treat sexual identity as enacted rather than expressed from a core.

A character whose sexuality is shown as a sustained doing.

A term reclaimed to mark non-normative sexualities and to resist stable identity categories; also a critical practice of unsettling norms.

Use as both identity and analytic that destabilizes the normal.

Readings that queer the family, time, or nation.

Rich’s analysis of heterosexuality as a political institution enforced on women.

Critique the naturalization of heterosexual plots and outcomes.

The marriage ending as compulsory rather than free.

Rich’s range of woman-identified experience not limited to genital sexuality.

Value female intimacy and solidarity as politically significant.

Intense female bonds that the text may or may not sexualize.

The set of norms that present heterosexuality as the default and ideal.

Expose the mechanisms that make the heterosexual appear natural.

The assumption that every character is straight unless marked otherwise.

A style of exaggerated, ironic, and often queer aesthetic performance (Sontag and others).

Analyze style that is knowingly artificial and theatrical.

A performance that is ‘too much’ and knows it.

Sedgwick’s study of how knowledge and ignorance about homosexuality structure modern Western culture.

Link sexual secrecy to broader regimes of knowledge and power.

The open secret that everyone knows and no one says.

The historical insight that acts and desires existed before the modern categories ‘homosexual’ and ‘heterosexual.’

Avoid anachronistic identity labels while still recovering desire.

Renaissance friendship or classical pederasty read carefully.

The critique of linear, reproductive, progressive time and the exploration of alternative temporalities (Halberstam and others).

Read for non-normative experiences of time, history, and futurity.

A narrative that refuses the marriage-and-children timeline.

The linking of queer bodies and desires to what is expelled from the clean and proper social body.

Analyze disgust, purity, and boundary defense in relation to sexuality.

The queer figure as pollution or monster in the text.

The politics and ethics of revealing sexual identity, whether of the living or the dead.

Reflect on the stakes of reading someone or a character as queer.

The critical act of claiming a historical figure for a queer tradition.

The systemic organization of fear and hatred of homosexuality, not only individual prejudice.

Trace institutional and narrative structures that police sexuality.

Laws, jokes, and plot punishments that enforce the boundary.

The figure of the child who is already queer or who figures queer possibility (Stockton and others).

Challenge the innocent, heterosexual child as the only model.

The child who does not fit the expected developmental story.

Rich’s term for the presence and possibility of lesbian being across history and culture.

Recover and affirm lesbian presence against erasure.

A tradition of women loving women that the canon has obscured.

The challenge that bisexual and other non-binary sexualities pose to the hetero/homo divide.

Refuse forced choice between exclusive categories.

A character whose desire does not settle on one side of the binary.

Approaches that center the intersection of sexuality with race and empire (Ferguson and others).

Avoid a white-centered queer theory; attend to racialized sexualities.

The queer subject who is also a racialized and colonized subject.

Debates within queer theory about whether queer should refuse social forms or build alternative relations (Edelman, Muñoz, and others).

Position the text in relation to queer debates about futurity and community.

A text that refuses the future versus one that imagines a queer utopia.

The practice of finding same-sex desire where the surface text denies or displaces it.

Recover submerged erotic bonds.

A ‘friendship’ that the text’s intensity suggests is more.

African American Criticism

20 terms

Gates’s concept of the African American rhetorical practice of indirect, intertextual, often competitive wordplay and revision.

Read Black texts as engaged in formal and thematic dialogue with prior texts, Black and white.

A novel that revises a canonical work through Signifyin(g) difference.

The body of Black expressive culture—sermons, blues, spirituals, toasts, oral narrative—that informs literary production.

Ground literary analysis in the vernacular forms that precede and surround the written text.

A novel whose rhythm and structure derive from the blues.

Du Bois’s term for the sense of always looking at oneself through the eyes of a racist white society; two-ness of being American and Black.

Analyze the split perception and internal conflict produced by racism.

A character who sees himself through the contempt of the other world.

Gilroy’s model of a transnational, intercultural formation produced by the slave trade and its aftermath.

Read African American culture in relation to Africa, the Caribbean, and Europe rather than only the US nation.

A text that crosses oceanic routes of memory and music.

The antiphonal structure of African American music and oratory, in which a leader’s call is answered by the group.

Find dialogic, participatory structures in narrative and poetry.

A sermon or poem that requires the audience’s answering voice.

A sensibility shaped by the blues: irony, resilience, improvisation, and the transformation of suffering into form.

Read for blues structures of feeling and form in literature.

A narrative that ‘laughs to keep from crying.’

The use of the mask (literal or figurative) and the revision of received forms to create space for Black meaning.

Analyze strategies of concealment, coding, and formal revision under oppression.

A text that wears a ‘white’ genre mask while signifying something else.

Cultural production that imagines Black futures through science fiction, technology, and speculative history.

Value speculative and futuristic Black texts as political and aesthetic projects.

A novel that reclaims the future for Black life.

The genre of autobiographical and fictional accounts of enslavement and freedom that founds much African American literature.

Read later texts in dialogue with the slave narrative’s forms and concerns.

A contemporary novel that revises the escape plot or the scene of literacy.

The process by which bodies and populations are produced as ‘raced’ through social, legal, and cultural practices.

Treat race as made, not given, in the text’s world.

Laws, gazes, and spaces that produce the racial other.

Du Bois’s figure for the problem of the twentieth century; the division and hierarchy of race.

Trace the color line’s effects on space, identity, and narrative possibility.

A boundary that characters may not cross without cost.

The difficulty and necessity of representing the trauma of slavery and racial violence.

Attend to formal strategies for approaching historical trauma.

Gaps, repetitions, and lyrical outbreaks as responses to the unspeakable.

Approaches that center the interlocking of race, gender, and class in Black women’s experience and writing (Christian, Smith, Collins, and others).

Refuse to separate race from gender in the analysis of Black texts.

A Black woman’s text that cannot be read as only ‘Black’ or only ‘feminist.’

Morrison’s and others’ figure of the living presence of the past and the dead in Black cultural life.

Value the role of memory, haunting, and intergenerational obligation.

A ghost or memory that makes ethical demands on the living.

The analysis of whiteness as a racial category with a history and a set of privileges rather than a neutral default.

Make whiteness visible as a position in the text.

The unmarked white norm against which others are defined.

The dual practice of opposing domination and creating alternative cultural meaning through form.

Balance attention to protest and to formal invention.

A text that both condemns and creates.

The traumatic transatlantic crossing of the slave trade as historical event and cultural memory.

Treat the Middle Passage as a founding trauma and a site of ongoing meaning.

Images of water, ships, and drowning that recall the Passage.

The interplay of oral performance and literary writing in African American tradition.

Refuse a strict hierarchy of written over oral.

A novel that demands to be heard as well as read.

The tension between collective survival and individual aspiration in Black literary tradition.

Avoid reading only for the isolated protagonist; attend to the group.

A hero whose fate is bound to the fate of a people.

The stakes of how Black people are depicted and who controls the means of depiction.

Critique stereotypes and claim the right to complex self-representation.

The struggle over the image of Black life in the public sphere.

Postcolonial Criticism

20 terms

Said’s analysis of the Western discourse that constructs the ‘Orient’ as its exotic, inferior, and knowable Other in order to dominate it.

Unmask the scholarly, literary, and political production of the East as object.

A novel whose ‘East’ is a projection of Western desire and fear.

Bhabha’s concept of the mixed, in-between identities and cultures produced in colonial and postcolonial contact zones.

Value the third space that unsettles pure binary oppositions of colonizer/colonized.

A character or form that is neither purely ‘native’ nor purely ‘metropolitan.’

Bhabha’s idea of the colonized subject’s partial imitation of the colonizer, which is both resemblance and menace.

Read colonial mimicry as ambivalent and potentially subversive.

‘Almost the same but not quite’ — the mockery in the copy.

Spivak’s and the Subaltern Studies group’s figure of the subordinated subject who cannot speak within hegemonic discourse; ‘Can the subaltern speak?’

Question who has access to voice and representation in the text and in criticism.

The silenced figure whose ‘speech’ is only available through the elite’s transcription.

The process of defining a group as the negative opposite of the self in order to secure the self’s identity and superiority.

Trace the textual production of the Other.

Description that makes the colonized the embodiment of what the colonizer is not.

The system of statements, images, and practices that produced and managed the colonial relation.

Analyze literature as part of the apparatus of colonial knowledge and power.

Travel writing, ethnography, and the novel as colonial technologies.

NgÅ©gÄ©’s and others’ call to free language, culture, and education from colonial domination.

Support the recovery of suppressed languages and cultural forms.

A writer who abandons the colonial language or transforms it.

The project of postcolonial literatures that respond to, revise, and resist the metropolitan canon.

Read postcolonial texts as active interventions in the canon and the world.

A novel that rewrites a classic from the colony’s point of view.

Bhabha’s and others’ analysis of the nation as a narrative construction, not a natural given.

Examine how texts produce or question national identity.

The nation’s origin story as a selective fiction.

The dispersion of peoples from a homeland and the cultures, memories, and identities that form in dispersal.

Read for routes as well as roots; for multiple belonging and loss.

A literature of displacement, return, and unfinished migration.

Pratt’s term for social spaces where cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of power.

Analyze the textual representation of unequal encounter.

The frontier, the mission, the colonial city as contact zones.

Spivak’s idea of the temporary, political use of essential identity categories for mobilization, even while knowing they are constructed.

Allow for the political necessity of identity claims without forgetting their constructedness.

A movement that speaks as ‘we’ while remaining critical of the ‘we.’

The aestheticization of the colonized world as strange, sensual, and available for consumption.

Critique the production of the exotic for metropolitan pleasure.

Description that turns a place into a spectacle for the outsider.

The role of the colonizer’s language as a tool of domination and a site of possible appropriation (Caliban’s language).

Attend to the politics of language choice and linguistic hybridity.

A text that both uses and sabotages the master’s tongue.

The use of gothic forms to represent the repressed violence and haunting of the colonial past.

Read ghosts, ruins, and buried secrets as colonial aftermath.

A house or landscape haunted by the undeclared dead of empire.

The continuation of colonial economic and cultural domination after formal independence.

Extend postcolonial analysis into the present of global capitalism and cultural imperialism.

A ‘independent’ nation still ruled by foreign capital and media.

Approaches that center the ongoing colonization of Indigenous peoples and their resistance and resurgence.

Refuse to treat colonialism as only a past event in settler societies.

Land, sovereignty, and Indigenous knowledge as central to the reading.

Spivak’s term for the way the Third World is produced as ‘the world’ for the First World through representation and development discourse.

Critique the representation of the Global South as raw material for Northern knowledge and conscience.

The native informant as a figure produced by the critic’s need.

The capacity to read across national and linguistic borders without erasing power differentials.

Practice comparative reading that stays alert to inequality.

A reading that connects texts across the former empire without flattening them.

The ethical and political demands for repair of colonial damage and, in some cases, return of land, objects, or remains.

Allow the text and the criticism to open onto questions of justice beyond interpretation.

A narrative that ends not only in understanding but in a claim for repair.

Solarpunk Aesthetics

20 terms

A cultural and aesthetic movement that imagines sustainable, just, and beautiful futures powered by renewable energy and communal care, in contrast to dystopian or purely technocratic visions.

Use as a positive horizon for ecological and social hope in literature and art.

A story set in a green, equitable city that runs on sun and cooperation.

The deliberate choice to imagine futures that are better, not only worse, than the present.

Counter the dominance of dystopia with credible, desirable alternatives.

A narrative that ends in a livable, shared world rather than collapse.

Technology scaled to human and ecological communities, repairable and locally controlled rather than proprietary and extractive.

Prefer tools that empower users and fit bioregions.

A solar oven or community wind turbine rather than a mega-reactor owned from afar.

Urban environments designed as ecological systems: gardens, clean energy, shared transit, and public space.

Imagine the city as a site of abundance and justice, not only alienation.

A metropolis that is also a forest and a commons.

The idea that beauty, art, and comfort should be collective rather than reserved for a private elite (related to the Paris Commune’s slogan).

Value shared aesthetic richness over exclusive luxury.

Public baths, gardens, and art that belong to everyone.

An aesthetic that values mending, reuse, and the visible history of objects rather than perpetual newness and disposal.

Celebrate the repaired, the patched, and the long-lived.

A garment or building whose mends are part of its beauty.

Power generation distributed across communities rather than concentrated in mega-plants and distant corporations.

Link energy systems to political freedom and local control.

Rooftop solar and microgrids as images of autonomy.

The extension of ethical and political consideration to nonhuman beings and systems.

Include animals, plants, and ecosystems as participants in the future.

A city planned with corridors for other species.

Opposition to futures in which the poor are asked to shrink while the rich continue to consume.

Insist that ecological limits are compatible with justice and pleasure for all.

A green future that is also a feast, not only a ration.

The practice of making, repairing, and modifying as a source of skill, community, and independence from corporate supply.

Value characters and communities who build and fix.

A workshop that is also a political space.

Design that incorporates living systems, natural light, and organic forms into the built environment.

Read architecture and setting for living, breathing qualities.

A building that is also a greenhouse and a habitat.

The aim of meeting human needs abundantly while respecting planetary boundaries, through sharing and efficiency rather than endless growth.

Imagine sufficiency and plenty without extractivism.

A society that has enough because it shares and designs well.

The sun as emblem of clean, abundant, democratic energy and of life’s dependence on a living star.

Use solar imagery as political and ecological, not only decorative.

Dawn as the start of a just day.

Critique of superficial or corporate ‘green’ imagery that leaves destructive systems intact.

Distinguish genuine ecological and social transformation from marketing.

A shiny eco-label on a product of exploitation.

The inclusion of long-standing ecological practices and worldviews as sources of future design, with respect and without appropriation.

Center knowledge systems that have sustained places for generations.

A future that learns from those who never forgot how to live with the land.

Art and narrative that make alternative futures feel tangible and desirable, not only abstractly correct.

Craft images and stories that people might want to live their way into.

A scene so vivid it becomes a goal.

Futures organized by reciprocal care rather than by market or state command alone.

Extend mutual aid from present practice into speculative vision.

Neighbors who still show up for each other in the green city.

The cultural project of replacing oil- and coal-centered images of power, speed, and freedom with renewable ones.

Critique the lingering romance of the smokestack and the gas guzzler.

A hero whose power is the sun and the collective, not the engine.

The rejection of a single universal utopia in favor of many place-based, culturally specific ecological futures.

Allow difference and local invention in the vision of the good.

Many solarpunks, not one template.

Hope treated not as a feeling that precedes action but as a discipline of imagination and work.

Frame solarpunk reading and writing as part of the practice of hope.

A text that trains the reader to look for and build the possible.

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