Rivkin And Ryan Literary Theory An Anthology Pdf To Jpg

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(Rivkin and Ryan 6) This value is no longer important to literary studies, as we see that many readings of literature are concerned with matters such as postcolonialism, feminism, and historicism. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. Literary Theory: An Anthology (3rd ed.) (Blackwell Anthologies series) by Julie Rivkin. Read online, or download in secure PDF or secure ePub format The new edition of this bestselling literary theory anthology has been thoroughly updated to include influential texts from innovative new areas, including disability studies, eco-criticism, and ethics.

Literary theory in a strict sense is the systematic study of the nature of literature and of the methods for analyzing literature.^[1] However, literary scholarship since the 19th century often includes—in addition to, or even instead of literary theory in the strict sense—considerations of intellectual history, moral philosophy, social prophecy, and other interdisciplinary themes which are of relevance to the way humans interpret meaning.^[1] In the humanities in modern academia, the latter style of scholarship is an outgrowth of critical theory and is often called^{[by whom?]} simply 'theory'.^[2]As a consequence, the word 'theory' has become an umbrella term for a variety of scholarly approaches to reading texts. Many of these approaches are informed by various strands of Continental philosophy and of sociology.

History[edit]

The practice of literary theory became a profession in the 20th century, but it has historical roots that run as far back as ancient Greece (Aristotle's Poetics is an often cited early example), ancient India (Bharata Muni's Natya Shastra), ancient Rome (Longinus's On the Sublime) and medieval Iraq (Al-Jahiz's al-Bayan wa-'l-tabyin and al-Hayawan, and ibn al-Mu'tazz's Kitab al-Badi).^[3] The aesthetic theories of philosophers from ancient philosophy through the 18th and 19th centuries are important influences on current literary study. The theory and criticism of literature are tied to the history of literature.

However, the modern sense of 'literary theory' only dates to approximately the 1950s when the structuralist linguistics of Ferdinand de Saussure began to strongly influence English language literary criticism.^{[citation needed]} The New Critics and various European-influenced formalists (particularly the Russian Formalists) had described some of their more abstract efforts as 'theoretical' as well.^{[citation needed]} But it was not until the broad impact of structuralism began to be felt in the English-speaking academic world that 'literary theory' was thought of as a unified domain.^{[citation needed]}

In the academic world of the United Kingdom and the United States, literary theory was at its most popular from the late 1960s (when its influence was beginning to spread outward from universities such as Johns Hopkins, Yale, and Cornell) through the 1980s (by which time it was taught nearly everywhere in some form).^{[citation needed]} During this span of time, literary theory was perceived as academically cutting-edge, and most university literature departments sought to teach and study theory and incorporate it into their curricula.^{[citation needed]} Because of its meteoric rise in popularity and the difficult language of its key texts, theory was also often criticized as faddish or trendy obscurantism (and many academic satire novels of the period, such as those by David Lodge, feature theory prominently).^{[citation needed]} Some scholars, both theoretical and anti-theoretical, refer to the 1970s and 1980s debates on the academic merits of theory as 'the theory wars'.^{[citation needed]}

By the early 1990s, the popularity of 'theory' as a subject of interest by itself was declining slightly (along with job openings for pure 'theorists') even as the texts of literary theory were incorporated into the study of almost all literature.^{[citation needed]} By 2010, the controversy over the use of theory in literary studies had quieted down, and discussions on the topic within literary and cultural studies tend now to be considerably milder and less lively.^{[citation needed]} However, some scholars like Mark Bauerlein continue to argue that less capable theorists have abandoned proven methods of epistemology, resulting in persistent lapses in learning, research, and evaluation.^[4] Some scholars do draw heavily on theory in their work, while others only mention it in passing or not at all; but it is an acknowledged, important part of the study of literature.^{[citation needed]}

Overview[edit]

One of the fundamental questions of literary theory is 'what is literature?' – although many contemporary theorists and literary scholars believe either that 'literature' cannot be defined or that it can refer to any use of language. Specific theories are distinguished not only by their methods and conclusions, but even by how they create meaning in a 'text'. However, some theorists acknowledge that these texts do not have a singular, fixed meaning which is deemed 'correct'.^[5]

Since theorists of literature often draw on a very heterogeneous tradition of Continental philosophy and the philosophy of language, any classification of their approaches is only an approximation. There are many types of literary theory, which take different approaches to texts. Even among those listed below, many scholars combine methods from more than one of these approaches (for instance, the deconstructive approach of Paul de Man drew on a long tradition of close reading pioneered by the New Critics, and de Man was trained in the European hermeneutic tradition).^{[citation needed]}

Broad schools of theory that have historically been important include historical and biographical criticism, New Criticism, formalism, Russian formalism, and structuralism, post-structuralism, Marxism, feminism and French feminism, post-colonialism, new historicism, deconstruction, reader-response criticism, and psychoanalytic criticism.

Differences among schools[edit]

The different interpretive and epistemological perspectives of different schools of theory often arise from, and so give support to, different moral and political commitments. For instance, the work of the New Critics often contained an implicit moral dimension, and sometimes even a religious one: a New Critic might read a poem by T. S. Eliot or Gerard Manley Hopkins for its degree of honesty in expressing the torment and contradiction of a serious search for belief in the modern world. Meanwhile, a Marxist critic might find such judgments merely ideological rather than critical; the Marxist would say that the New Critical reading did not keep enough critical distance from the poem's religious stance to be able to understand it.^{[citation needed]} Or a post-structuralist critic might simply avoid the issue by understanding the religious meaning of a poem as an allegory of meaning, treating the poem's references to 'God' by discussing their referential nature rather than what they refer to.^{[citation needed]} A critic using Darwinian literary studies might use arguments from the evolutionary psychology of religion.^{[citation needed]}

Such a disagreement cannot be easily resolved, because it is inherent in the radically different terms and goals (that is, the theories) of the critics. Their theories of reading derive from vastly different intellectual traditions: the New Critic bases his work on an East-Coast American scholarly and religious tradition, while the Marxist derives his thought from a body of critical social and economic thought, the post-structuralist's work emerges from twentieth-century Continental philosophy of language, and the Darwinian from the modern evolutionary synthesis.^{[citation needed]}

In the late 1950s, the Canadian literary critic Northrop Frye attempted to establish an approach for reconciling historical criticism and New Criticism while addressing concerns of early reader-response and numerous psychological and social approaches. His approach, laid out in his Anatomy of Criticism, was explicitly structuralist, relying on the assumption of an intertextual 'order of words' and universality of certain structural types. His approach held sway in English literature programs for several decades but lost favor during the ascendance of post-structuralism.

For some theories of literature (especially certain kinds of formalism), the distinction between 'literary' and other sorts of texts is of paramount importance. Other schools (particularly post-structuralism in its various forms: new historicism, deconstruction, some strains of Marxism and feminism) have sought to break down distinctions between the two and have applied the tools of textual interpretation to a wide range of 'texts', including film, non-fiction, historical writing, and even cultural events.

Mikhail Bakhtin argued that the 'utter inadequacy' of literary theory is evident when it is forced to deal with the novel; while other genres are fairly stabilized, the novel is still developing.^[6]

Another crucial distinction among the various theories of literary interpretation is intentionality, the amount of weight given to the author's own opinions about and intentions for a work. For most pre-20th century approaches, the author's intentions are a guiding factor and an important determiner of the 'correct' interpretation of texts. The New Criticism was the first school to disavow the role of the author in interpreting texts, preferring to focus on 'the text itself' in a close reading. In fact, as much contention as there is between formalism and later schools, they share the tenet that the author's interpretation of a work is no more inherently meaningful than any other.

Schools[edit]

Listed below are some of the most commonly identified schools of literary theory, along with their major authors. In many cases, such as those of the historian and philosopher Michel Foucault and the anthropologist Claude Lévi-Strauss, the authors were not primarily literary critics, but their work has been broadly influential in literary theory.

• Associated with Romanticism, a philosophy defining aesthetic value as the primary goal in understanding literature. This includes both literary critics who have tried to understand and/or identify aesthetic values and those like Oscar Wilde who have stressed art for art's sake.
  • Oscar Wilde, Walter Pater, Harold Bloom
• American pragmatism and other American approaches
  • Harold Bloom, Stanley Fish, Richard Rorty
• Cognitive literary theory – applies research in cognitive neuroscience, cognitive evolutionary psychology and anthropology, and philosophy of mind to the study of literature and culture.
  • Frederick Luis Aldama, Mary Thomas Crane, Nancy Easterlin, William Flesch, David Herman, Suzanne Keen, Patrick Colm Hogan, Alan Richardson, Ellen Spolsky, Blakey Vermeule, Lisa Zunshine
• Cambridge criticism – close examination of the literary text and the relation of literature to social issues
  • I.A. Richards, F.R. Leavis, Q.D. Leavis, William Empson.
• Cultural studies – emphasizes the role of literature in everyday life
  • Raymond Williams, Dick Hebdige, and Stuart Hall (British Cultural Studies); Max Horkheimer and Theodor Adorno; Michel de Certeau; also Paul Gilroy, John Guillory
• Darwinian literary studies – situates literature in the context of evolution and natural selection
• Deconstruction – a strategy of 'close' reading that elicits the ways that key terms and concepts may be paradoxical or self-undermining, rendering their meaning undecidable
  • Jacques Derrida, Paul de Man, J. Hillis Miller, Philippe Lacoue-Labarthe, Gayatri Spivak, Avital Ronell
• Desciptive poetics
• Eco-criticism – explores cultural connections and human relationships to the natural world
• Gender (see feminist literary criticism) – which emphasizes themes of gender relations
  • Luce Irigaray, Judith Butler, Hélène Cixous, Julia Kristeva, Elaine Showalter
• Formalism – a school of literary criticism and literary theory having mainly to do with structural purposes of a particular text
• German hermeneutics and philology
  • Friedrich Schleiermacher, Wilhelm Dilthey, Hans-Georg Gadamer, Erich Auerbach, René Wellek
• Marxism (see Marxist literary criticism) – which emphasizes themes of class conflict
  • Georg Lukács, Valentin Voloshinov, Raymond Williams, Terry Eagleton, Fredric Jameson, Theodor Adorno, Walter Benjamin
• New Criticism – looks at literary works on the basis of what is written, and not at the goals of the author or biographical issues
  • W. K. Wimsatt, F. R. Leavis, John Crowe Ransom, Cleanth Brooks, Robert Penn Warren, T.S. Eliot
• New Historicism – which examines the work through its historical context and seeks to understand cultural and intellectual history through literature
  • Stephen Greenblatt, Louis Montrose, Jonathan Goldberg, H. Aram Veeser
• Postcolonialism – focuses on the influences of colonialism in literature, especially regarding the historical conflict resulting from the exploitation of less developed countries and indigenous peoples by Western nations
  • Edward Said, Gayatri Chakravorty Spivak, Homi Bhabha and Declan Kiberd
• Postmodernism – criticism of the conditions present in the twentieth century, often with concern for those viewed as social deviants or the Other
  • Michel Foucault, Roland Barthes, Gilles Deleuze, Félix Guattari and Maurice Blanchot
• Post-structuralism – a catch-all term for various theoretical approaches (such as deconstruction) that criticize or go beyond Structuralism's aspirations to create a rational science of culture by extrapolating the model of linguistics to other discursive and aesthetic formations
  • Roland Barthes, Michel Foucault, Julia Kristeva
• Psychoanalysis (see psychoanalytic literary criticism) – explores the role of consciousnesses and the unconscious in literature including that of the author, reader, and characters in the text
  • Sigmund Freud, Jacques Lacan, Harold Bloom, Slavoj Žižek, Viktor Tausk
• Queer theory – examines, questions, and criticizes the role of gender identity and sexuality in literature
  • Judith Butler, Eve Kosofsky Sedgwick, Michel Foucault
• Reader-response criticism – focuses upon the active response of the reader to a text
  • Louise Rosenblatt, Wolfgang Iser, Norman Holland, Hans-Robert Jauss, Stuart Hall
• Realist
• Russian formalism
  • Victor Shklovsky, Vladimir Propp
• Structuralism and semiotics (see semiotic literary criticism) – examines the universal underlying structures in a text, the linguistic units in a text and how the author conveys meaning through any structures
  • Ferdinand de Saussure, Roman Jakobson, Claude Lévi-Strauss, Roland Barthes, Mikhail Bakhtin, Yurii Lotman, Umberto Eco, Jacques Ehrmann, Northrop Frye and morphology of folklore
• Other theorists: Robert Graves, Alamgir Hashmi, John Sutherland, Leslie Fiedler, Kenneth Burke, Paul Bénichou, Barbara Johnson, Blanca de Lizaur

See also[edit]

Notes[edit]

1. ^ ^abCuller 1997, p.1
2. ^Searle, John. (1990) 'The Storm Over the University', The New York Review of Books, December 6, 1990.
3. ^van Gelder, G. J. H. (1982), Beyond the Line: Classical Arabic Literary Critics on the Coherence and Unity of the Poem, Brill Publishers, pp. 1–2, ISBN90-04-06854-6
4. ^Bauerlein, Mark (November 13, 2014). 'Theory and the Humanities, Once More'. Inside HigherEd. Washington, DC. Jay treats it [theory] as transformative progress, but it impressed us as hack philosophizing, amateur social science, superficial learning, or just plain gamesmanship.
5. ^Sullivan, Patrick (2002-01-01). ''Reception Moments,' Modern Literary Theory, and the Teaching of Literature'. Journal of Adolescent & Adult Literacy. 45 (7): 568–577. JSTOR40012241.
6. ^Bakhtin 1981, p.8

References[edit]

• Peter Barry. Beginning Theory: An Introduction to Literary and Cultural Theory. ISBN0-7190-6268-3.
• Jonathan Culler. (1997) Literary Theory: A Very Short Introduction. Oxford: Oxford University Press. ISBN0-19-285383-X.
• Terry Eagleton. Literary Theory: An Introduction. ISBN0-8166-1251-X.
• Terry Eagleton. After Theory. ISBN0-465-01773-8.
• Jean-Michel Rabaté. The Future of Theory. ISBN0-631-23013-0.
• The Johns Hopkins Guide to Literary Theory and Criticism. ISBN0-8018-4560-2.
• Modern Criticism and Theory: A Reader. Ed. David Lodge and Nigel Wood. 2nd Ed. ISBN0-582-31287-6
• Theory's Empire: An Anthology of Dissent. Ed. Daphne Patai and Will H. Corral. ISBN0-231-13417-7.
• Bakhtin, M. M. (1981) The Dialogic Imagination: Four Essays. Ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist. Austin and London: University of Texas Press.
• René Wellek. A history of modern criticism : 1750-1950. Yale University Press, 1955-1992, 8 volumes.
  • 1: The later eighteenth century
  • 2: The romantic age
  • 3: The age of transition
  • 4: The later nineteenth century
  • 5: English criticism, 1900-1950
  • 6: American criticism, 1900-1950
  • 7: German, Russian, and Eastern European criticism, 1900-1950
  • 8: French, Italian and Spanish criticism, 1900-1950

Further reading[edit]

• Carroll, J. (2007). Evolutionary Approaches to Literature and Drama. In Robin Dunbar and Louise Barrett, (Eds.), The Oxford Handbook of Evolutionary Psychology. Chapter 44. Full text
• Castle, Gregory. Blackwell Guide to Literary Theory. Malden, MA: Blackwell Publishing, 2007.
• Culler, Jonathan.The Literary in Theory. Stanford: Stanford University Press, 2007.
• Terry Eagleton. Literary Theory. Minneapolis: University of Minnesota Press, 2008. (http://www.upress.umn.edu/)
• Literary Theory: An Anthology. Edited by Julie Rivkin and Michael Ryan. Malden, MA: Blackwell Publishing, 2004.
• Lisa Zunshine, ed. Introduction to Cognitive Cultural Studies. Baltimore: The Johns Hopkins University Press, 2010

External links[edit]

• Internet Encyclopedia of Philosophy: 'Literary Theory,' by Vince Brewton

Stephen Jay Greenblatt (born November 7, 1943) is an American Shakespearean, literary historian, and author. He has served as the John Cogan University Professor of the Humanities at Harvard University since 2000. Greenblatt is the general editor of The Norton Shakespeare (2015) and the general editor and a contributor to The Norton Anthology of English Literature.

Greenblatt is one of the founders of New Historicism, a set of critical practices that he often refers to as 'cultural poetics'; his works have been influential since the early 1980s when he introduced the term. Greenblatt has written and edited numerous books and articles relevant to New Historicism, the study of culture, Renaissance studies and Shakespeare studies and is considered to be an expert in these fields. He is also co-founder of the literary-cultural journal Representations, which often publishes articles by new historicists. His most popular work is Will in the World, a biography of Shakespeare that was on the New York TimesBest Seller List for nine weeks.^[1] He won the Pulitzer Prize for General Non-Fiction in 2012 and the National Book Award for Nonfiction in 2011 for The Swerve: How the World Became Modern.^[2][3]

• 1Life and career
• 2Work
• 5Bibliography

Life and career[edit]

Education and career[edit]

Greenblatt was born in Boston and raised in Newton, Massachusetts. After graduating from Newton North High School, he was educated at Yale University (BA 1964, PhD 1969) and Pembroke College, Cambridge (MA (Cantab) 1966).^[4] Greenblatt has since taught at the University of California, Berkeley, and Harvard University. He was Class of 1972 Professor at Berkeley (becoming a full professor in 1980) and taught there for 28 years before taking a position at Harvard University.^[5] He was named John Cogan University Professor of the Humanities in 2000. Greenblatt is considered 'a key figure in the shift from literary to cultural poetics and from textual to contextual interpretation in U.S. English departments in the 1980s and 1990s.'^[6]

Greenblatt was a long-term fellow of the Wissenschaftskolleg in Berlin.^[7] As a visiting professor and lecturer, Greenblatt has taught at institutions including the École des Hautes Études, the University of Florence, Kyoto University, the University of Oxford and Peking University. He was a resident fellow at the American Academy in Rome,^[8] and is a fellow of the American Academy of Arts and Sciences (1987), the American Philosophical Society (2007), and the American Academy of Arts and Letters (2008); he has been president of the Modern Language Association.^[9]

Family[edit]

Greenblatt is an Eastern European Jew, an Ashkenazi, and a Litvak. His observant Jewish grandparents were born in Lithuania; his paternal grandparents were from Kovno and his maternal grandparents were from Vilna. Greenblatt's grandparents immigrated to the United States during the early 1890s in order to escape a Czarist Russification plan to conscript young Jewish men into the Russian army.^[10]

In 1998, he married fellow academic Ramie Targoff, also a Renaissance expert and a professor at Brandeis University, whom he has described as his soulmate.^[4]

Work[edit]

Greenblatt has written extensively on Shakespeare, the Renaissance, culture and New Historicism (which he often refers to as 'cultural poetics'). Much of his work has been 'part of a collective project', such as his work as co-editor of the Berkeley-based literary-cultural journal Representations (which he co-founded in 1983), as editor of publications such as the Norton Anthology of English Literature, and as co-author of books such as Practicing New Historicism (2000), which he wrote with Catherine Gallagher. Greenblatt has also written on such subjects as travelling in Laos and China, story-telling, and miracles.

Greenblatt's collaboration with Charles L. Mee, Cardenio, premiered on May 8, 2008, at the American Repertory Theater in Cambridge, Massachusetts. While the critical response to Cardenio was mixed, audiences responded quite positively. The American Repertory Theater has posted audience responses on the organization's blog. Cardenio has been adapted for performance in ten countries, with additional international productions planned.^{[citation needed]}

He wrote his 2018 book Tyrant: Shakespeare on Politics out of anxiety over the result of the 2016 US presidential election.^[11][12]

New Historicism[edit]

Greenblatt first used the term 'New Historicism' in his 1982 introduction to The Power of Forms in the English Renaissance wherein he uses Queen Elizabeth I's 'bitter reaction to the revival of Shakespeare's Richard II on the eve of the Essex rebellion' to illustrate the 'mutual permeability of the literary and the historical'.^[13] New Historicism is regarded by many to have influenced 'every traditional period of English literary history'.^[14] Some critics have charged that it is 'antithetical to literary and aesthetic value, that it reduces the historical to the literary or the literary to the historical, that it denies human agency and creativity, that it is somehow out to subvert the politics of cultural and critical theory [and] that it is anti-theoretical'.^[13] Scholars have observed that New Historicism is, in fact, 'neither new nor historical.'^[15] Others praise New Historicism as 'a collection of practices' employed by critics to gain a more comprehensive understanding of literature by considering it in historical context while treating history itself as 'historically contingent on the present in which [it is] constructed'.^[13]

As stated by Shakespeare scholar Jonathan Bate, the approach of New Historicism has been 'the most influential strand of criticism over the last 25 years, with its view that literary creations are cultural formations shaped by 'the circulation of social energy'.'^[4] When told that several American job advertisements were requesting responses from experts in New Historicism, he remembered thinking: 'You've got to be kidding. You know it was just something we made up!' I began to see there were institutional consequences to what seemed like a not particularly deeply thought-out term.'^[4]

He has also said that 'My deep, ongoing interest is in the relation between literature and history, the process through which certain remarkable works of art are at once embedded in a highly specific life-world and seem to pull free of that life-world. I am constantly struck by the strangeness of reading works that seem addressed, personally and intimately, to me, and yet were written by people who crumbled to dust long ago'.^[16]

Greenblatt's works on New Historicism and 'cultural poetics' include Practicing New Historicism (2000) (with Catherine Gallagher), in which Greenblatt discusses how 'they anecdote ... appears as the 'touch of the real' and Towards a Poetics of Culture (1987), in which Greenblatt asserts that the question of 'how art and society are interrelated,' as posed by Jean-François Lyotard and Fredric Jameson, 'cannot be answered by appealing to a single theoretical stance'.^[14]Renaissance Self-Fashioning and the introduction to the Norton Shakespeare are regarded as good examples of Greenblatt's application of new historicist practices.^[13]

New Historicism acknowledges that any criticism of a work is colored by the critic's beliefs, social status, and other factors. Many New Historicists begin a critical reading of a novel by explaining themselves, their backgrounds, and their prejudices. Both the work and the reader are affected by everything that has influenced them. New Historicism thus represents a significant change from previous critical theories like New Criticism, because its main focus is to look at many elements outside of the work, instead of reading the text in isolation.

Shakespeare and Renaissance studies[edit]

'I believe that nothing comes of nothing, even in Shakespeare. I wanted to know where he got the matter he was working with and what he did with that matter'.^[17]

Greenblatt states in 'King Lear and Harsnett's 'Double-Fiction' that 'Shakespeare's self-consciousness is in significant ways bound up with the institutions and the symbology of power it anatomizes'.^[18] His work on Shakespeare has addressed such topics as ghosts, purgatory, anxiety, exorcists and revenge. He is also a general editor of the Norton Shakespeare.

Greenblatt's New Historicism opposes the ways in which New Criticism consigns texts 'to an autonomous aesthetic realm that [dissociates] Renaissance writing from other forms of cultural production' and the historicist notion that Renaissance texts mirror 'a coherent world-view that was held by a whole population,' asserting instead 'that critics who [wish] to understand sixteenth- and seventeenth-century writing must delineate the ways the texts they [study] were linked to the network of institutions, practices, and beliefs that constituted Renaissance culture in its entirety'.^[14] Greenblatt's work in Renaissance studies includes Renaissance Self-Fashioning (1980), which 'had a transformative impact on Renaissance studies'.^[13]

Norton Anthology of English Literature[edit]

Greenblatt joined M. H. Abrams as general editor of The Norton Anthology of English Literature published by W. W. Norton during the 1990s.^[19] He is also the co-editor of the anthology's section on Renaissance literature^[20] and the general editor of the Norton Shakespeare, 'currently his most influential piece of public pedagogy.'^[13]

Political commentary[edit]

Although it does not reference President Donald Trump directly, Greenblatt's 2018 book, Tyrant: Shakespeare on Politics, is considered by literary critics in leading newspapers as thinly veiled criticism of the president.^[21][22][23]

Honors[edit]

• 1964–66: Fulbright scholarship
• 1975: Guggenheim Fellowship
• 1983: Guggenheim Fellowship
• 1989: James Russell Lowell Prize of the Modern Language Association (Shakespearean Negotiations)
• 2002: Honorary D.Litt., Queen Mary College, University of London
• 2002: Erasmus Institute Prize
• 2002: Mellon Distinguished Humanist Award
• 2005: William Shakespeare Award for Classical Theatre, The Shakespeare Theatre, Washington, D.C.
• 2006: Honorary degree, University of Bucharest, Romania
• 2010: Wilbur Cross Medal, Yale University
• 2011: National Book Award for Nonfiction, The Swerve: How the World Became Modern
• 2011: James Russell Lowell Prize of the Modern Language Association, The Swerve: How the World Became Modern
• 2012: Pulitzer Prize for General Non-Fiction, The Swerve: How the World Became Modern
• 2016: Honorary Ph.D. in Visual Arts: Philosophy, Aesthetics, and Art Theory, from the Institute for Doctoral Studies in the Visual Arts
• 2016 Holberg Prize for outstanding scholars for work in the arts, humanities, social sciences, law or theology

Lectures[edit]

• Clarendon Lectures, University of Oxford (1988)
• Carpenter Lectures, University of Chicago (1988)
• Adorno Lectures, Goethe University Frankfurt (2006)
• Campbell Lectures, Rice University (2008)
• Sigmund H Danziger Jr Lecture, University of Chicago (2015)
• Rosamond Gifford Lecture Series, Syracuse, New York (2015)
• Mosse Lecture Series, Humboldt University (2015)
• Humanitas Visiting Professorship in Museums, Galleries and Libraries, University of Oxford (2015)

Bibliography[edit]

Books[edit]

• Greenblatt, Stephen (1965). Three modern satirists : Waugh, Orwell, and Huxley. New Haven, Conn.: Yale University Press. ISBN978-0-300-00508-0.
• — (1973). Sir Walter Ralegh: The Renaissance Man and His Roles. New Haven, Conn.: Yale University Press. ISBN978-0-300-01634-5.
• — (2005) [1980]. Renaissance Self-Fashioning: From More to Shakespeare. Chicago: University of Chicago Press. ISBN978-0-226-30659-9.
• — (1989). Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley: University of California Press. ISBN978-0-520-06160-6.
• — (2007) [1990]. Learning to Curse: Essays in Early Modern Culture. London: Harvard University Press. ISBN978-0-415-77160-3.
• — (1992). Marvelous Possessions: The Wonder of the New World. Chicago: University of Chicago Press. ISBN978-0-226-30652-0.
• —, ed. (1992). Redrawing the Boundaries: The Transformation of English and American Literary Studies. New York: Modern Language Association of America. ISBN978-0-87352-396-7.
• with Cohen, Walter; Howard, Jean; Maus, Katharine Eisaman, eds. (2008) [1997]. The Norton Shakespeare (2nd ed.). New York: W. W. Norton. ISBN978-0-393-92991-1.
• with Gallagher, Catherine (2001). Practicing New Historicism. Chicago: University of Chicago Press. ISBN978-0-226-27935-0.
• — (2002). Hamlet in Purgatory. Princeton: Princeton University Press. ISBN978-0-691-10257-3.
• — (2005). Will in the World: How Shakespeare Became Shakespeare. New York: W. W. Norton. ISBN978-0-393-32737-3.
• — (2005). The Greenblatt Reader. Hoboken: Wiley-Blackwell. ISBN978-1-4051-1566-7.
• — (2010). Shakespeare's Freedom. Chicago: University of Chicago Press. ISBN978-0-226-30667-4.
• — (2011). The Swerve: How the World Became Modern. New York: W. W. Norton. ISBN978-0-393-06447-6.
• — (2017). The Rise and Fall of Adam and Eve. New York: W. W. Norton. ISBN978-0-393-24080-1.
• — (2018). Tyrant: Shakespeare on Politics. New York: W. W. Norton. ISBN9780393635751.

Essays and reporting[edit]

• Greenblatt, Stephen (April 2, 2015). 'Shakespeare in Tehran'. The New York Review of Books. Retrieved October 9, 2016.
• — (June 19, 2017). 'The invention of sex : St. Augustine's carnal knowledge'. Annals of Culture. The New Yorker. 93 (17): 24–28.^[24]
• — (July 10, 2017). 'If You Prick us'. Annals of Culture. The New Yorker. 93 (20): 34–39.^[25]

See also[edit]

• Cultural Materialism (often contrasted with)

Notes[edit]

1. ^Rachel Donadio (January 23, 2005). 'Who Owns Shakespeare?'. The New York Times. Retrieved March 2, 2012.
2. ^'The 2012 Pulitzer Prize Winners'. Retrieved March 25, 2014.
3. ^'2011 National Book Award Winner, Nonfiction'. National Book Foundation. Retrieved March 25, 2014.
4. ^ ^abcdMiller, Lucasta (February 26, 2005). 'The human factor'. The Guardian. Retrieved October 7, 2015.
5. ^'Greenblatt Accepts Tenure: Prof. Will Join English Dept'. The Harvard Crimson. December 14, 1996. Retrieved October 7, 2015.
6. ^Vincent Leitch, ed. (2001). Norton Anthology of Theory and Criticism. New York: W. W. Norton. p. 2250. ISBN978-0-393-97429-4.
7. ^'Chronicle of the Wissenschaftskolleg zu Berlin 1978–2006'. Wissenschaftskolleg zu Berlin. Retrieved October 7, 2015. 2001 ... Stephen Greenblatt, Humanities, Harvard, is appointed a Non-Resident Permanent Fellow.
8. ^'Stephen Greenblatt Contemplates the Enduring Power of Lucretius and his Dangerous Ideas'. April 2, 2013. Retrieved October 7, 2015. A lecture by Stephen Greenblatt, RAAR '10, took place Wednesday evening under an auspicious full moon at the Villa Aurelia.
9. ^Greenblatt, Stephen (May 2003). 'Presidential Address 2002: 'Stay, Illusion'. On Receiving Messages from the Dead'. Publications of the Modern Language Association of America. JSTOR1261517.
10. ^'The Inevitable Pit: Stephen Greenblatt writes about his family and the New World'. London Review of Books. Retrieved December 9, 2012.
11. ^'What can Macbeth teach us about President Trump's next move?' by Eliot A. Cohen, The Washington Post, May 3, 2018
12. ^'Stephen Greenblatt interview: on Shakespeare, Trump and his new book about the 'strong men' who lead the world' by Bryan Appleyard, The Times, May 20, 2018 (subscription required)
13. ^ ^abcdefGreenblatt, Stephen (2005). The Greenblatt Reader. Hoboken: Wiley-Blackwell. pp. 1–3. ISBN978-1-4051-1566-7.
14. ^ ^abcCadzow, Hunter; Conway, Alison; Traister, Bryce (2005). 'New Historicism'. Johns Hopkins Guide to Literary Theory and Criticism. Retrieved March 2, 2012.
15. ^Vickers, Brian (1994). Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven: Yale University Press. p. 215. ISBN978-0300061055.
16. ^'Greenblatt Named University Professor of the Humanities'. Harvard University Gazette. September 21, 2000. Archived from the original on February 8, 2012. Retrieved March 2, 2012.
17. ^Greenblatt, Stephen (2002). Hamlet in Purgatory. Princeton: Princeton University Press. p. 4. ISBN978-0-691-10257-3.
18. ^David Richter, ed. (1988). The Critical Tradition: Classic Texts and Contemporary Trends. Boston: Bedford Books. p. 1295. ISBN978-0-312-10106-0.
19. ^Donadio, Rachel, The New York Times, January 8, 2006, 'Keeper of the Canon'
20. ^Ken Gewertz (February 2, 2006). 'Greenblatt Edits 'Norton Anthology''. Harvard University Gazette. Archived from the original on February 8, 2012. Retrieved March 2, 2012.
21. ^Callow, Simon (June 20, 2018). 'What Would Shakespeare Have Made of Donald Trump?'. The New York Times. Retrieved July 12, 2019.
22. ^McCrum, Robert (July 1, 2018). 'Tyrant: Shakespeare on Power by Stephen Greenblatt review – sinister and enthralling'. The Guardian. Retrieved July 12, 2019.
23. ^Cohen, Eliot A. (May 3, 2018). 'What can Macbeth Teach us about President Trump's next move?'. The Washington Post. Retrieved July 12, 2019.
24. ^Online version is titled 'How St. Augustine invented sex'.
25. ^Online version is titled 'Shakespeare's Cure for Xenophobia'.

Further reading[edit]

• Cadzow, Hunter; Conway, Alison; Traister, Bryce (2005). 'New Historicism'. Johns Hopkins Guide to Literary Theory and Criticism. Retrieved March 2, 2012.
• 'A conversation with author Stephen Greenblatt'. Charlie Rose. PBS. December 1, 2004. Archived from the original on March 19, 2012. Retrieved March 2, 2012.
• Gewertz, Ken (February 2, 2006). 'Greenblatt Edits 'Norton Anthology''. Harvard University Gazette. Archived from the original on February 8, 2012. Retrieved March 2, 2012.
• 'Greenblatt Named University Professor of the Humanities'. Harvard University Gazette. September 21, 2000. Archived from the original on February 8, 2012.
• Greenblatt, Stephen (1989). Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley: University of California Press. ISBN978-0-520-06160-6.
• —— (1992). Marvelous Possessions: The Wonder of the New World. Chicago: University of Chicago Press. ISBN978-0-226-30652-0.
• —— (2002). Hamlet in Purgatory. Princeton: Princeton University Press. ISBN978-0-691-10257-3.
• —— (2005). The Greenblatt Reader. Hoboken: Wiley-Blackwell. ISBN978-1-4051-1566-7.
• —— (February 5, 2013). 'The Shape of a Life'. The New Yorker.
• —— (July 10, 2017). 'Shakespeare's Cure for Xenophobia'. The New Yorker.
• 'Interview: Will in the World: How Shakespeare Became Shakespeare'. Booknotes. C-SPAN. November 14, 2004. Archived from the original on November 16, 2010. Retrieved March 2, 2012.
• Leitch, Vincent, ed. (2001). Norton Anthology of Theory and Criticism. New York: W. W. Norton. ISBN978-0-393-97429-4.
• 'Meet the Writers: Stephen Greenblatt'. Barnes & Noble. 2004. Archived from the original on February 10, 2012. Retrieved March 2, 2012.
• Pieters, Jürgen, ed. (1999). Critical Self-Fashioning: Stephen Greenblatt and the New Historicism. Frankfurt: Peter Lang. ISBN978-3-631-34116-2.
• ——, ed. (2001). Moments of Negotiation. The New Historicism of Stephen Greenblatt. Amsterdam: Amsterdam University Press. ISBN978-90-5356-502-5.}
• Richter, David, ed. (1988). The Critical Tradition: Classic Texts and Contemporary Trends. Boston: Bedford Books. ISBN978-0-312-10106-0.
• Rivkin, Julie; Ryan, Michael, eds. (2004). Literary Theory: An Anthology. Malden: Blackwell. ISBN978-1-4051-0696-2.
• Ruder, Debra Bradley (February 6, 1997). 'Renaissance Literature Scholar to Join FAS'. Harvard University Gazette. Retrieved March 2, 2012.

External links[edit]

• Cardenio, American Repertory Theater
• Appearances on C-SPAN
• Stephen Greenblatt, interviewed on Charlie Rose

Rivkin And Ryan Literary Theory An Anthology Pdf To Jpg Converter