He said, `` Some have criticized your book as being neither literary criticism nor history.

Some say that literary criticism is a subset of literary theory.

His work in this specific field ( based on the criss-crossing between literary criticism, bibliography, and sociocultural history ) is connected to broader historiographical and methodological interests which deal with the relation between history and other disciplines: philosophy, sociology, anthropology.

In literary criticism, a Bildungsroman (; ) or coming-of-age story is a literary genre that focuses on the psychological and moral growth of the protagonist from youth to adulthood ( coming of age ), and in which character change is thus extremely important.

The term has two different meanings with different origins and histories: one originating in sociology and the other in literary criticism.

These can include shi ( 史, historical works ), zi ( 子, philosophical works belonging to schools of thought other than the Confucian, but also works of agriculture, medicine, mathematics, astronomy, divination, art criticism, and all sorts of miscellaneous writings ) and ji ( 集, literary works ) as well as jing.

As a term, critical theory has two meanings with different origins and histories: the first originated in sociology and the second originated in literary criticism, whereby it is used and applied as an umbrella term that can describe a theory founded upon critique ; thus, the theorist Max Horkheimer described a theory as critical in so far as it seeks " to liberate human beings from the circumstances that enslave them.

The second meaning of critical theory is the theory used in literary criticism and in the analysis and understanding of literature.

This version of " critical " theory derives from the notion of literary criticism as establishing and enhancing the understanding and evaluation of literature in the search for truth.

Thus literary criticism became highly theoretical and some of those practicing it began referring to the theoretical dimension of their work as " critical theory "-a philosophically inspired theory of literary criticism.

With the expansion of the mass media and mass / popular culture in the 1960s and 1970s and the blending of social and cultural criticism and literary criticism, the methods of both kinds of critical theory sometimes intertwined in the analysis of phenomena of popular culture, as in the emerging field of cultural studies, in which concepts deriving from Marxian theory, post-structuralism, semiology, psychoanalysis and feminist theory would be found in the same interpretive work.

Particularly problematic are the attempts to give neat introductions to deconstruction by people trained in literary criticism who sometimes have little or no expertise in the relevant areas of philosophy that Derrida is working in relation to.

This group came to be known as the Yale school and was especially influential in literary criticism.

Poe switched his focus to prose and spent the next several years working for literary journals and periodicals, becoming known for his own style of literary criticism.

Poe's writing reflects his literary theories, which he presented in his criticism and also in essays such as " The Poetic Principle ".

A favorite target of Poe's criticism was Boston's then acclaimed poet, Henry Wadsworth Longfellow, who was often defended by his literary friends in what would later be called " The Longfellow War ".

His residence at Leuven, where he lectured at the Catholic University, exposed Erasmus to much criticism from those ascetics, academics and clerics hostile to the principles of literary and religious reform and the loose norms of the Renaissance adherents to which he was devoting his life.

The label of formula fiction is used in literary criticism as a mild pejorative to imply lack of originality.

He also argues that John's " poor " Greek is a literary device since Galileans were known to have excellent Greek.

Although love is central to both Christianity and Judaism, literary critic Harold Bloom ( in his Jesus and Yahweh: The Names Divine ) argues that their notions of love are fundamentally different.

Gosta W. Ahlstrom argues the inconsistencies of the biblical tradition are insufficient to say that Ezra, with his central position as the ' father of Judaism ' in the Jewish tradition, has been a later literary invention.

In King Leopold's Ghost ( 1998 ), Adam Hochschild argues that literary scholars have made too much of the psychological aspects of Heart of Darkness while scanting the horror of Conrad's accurate recounting of the methods and effects of colonialism.

" Samuel Butler argues, based on literary observations, that a young Sicilian woman wrote the Odyssey ( but not the Iliad ), an idea further pursued by Robert Graves in his novel Homer's Daughter and Andrew Dalby in Rediscovering Homer.

" ... Conrad argues that " nothing is more foreign than what in the literary world is called Slavonism to his individual sensibility and the whole Polish mentality "

A recent critic, who is a legal as well as a literary scholar, argues that Old Mortality not only reflects the evolution of Scottish nationalism but also invokes a foundational moment in British sovereignty, namely, the Act of Habeas corpus ( also known as the Great Writ ), passed by the English Parliament in 1679.

He argues that understanding narratives will lead to a fuller understanding of the language itself and those fields informed by storytelling, in which he includes ethnopoetics, sociolinguistics, psycholinguistics, rhetoric, semiotics, pragmatics, narrative inquiry and literary criticism.

In his 1989 Contingency, Irony, and Solidarity, Richard Rorty argues that Derrida ( especially in his book, The Post Card: From Socrates to Freud and Beyond ) purposefully uses words that cannot be defined ( e. g. Différance ), and uses previously definable words in contexts diverse enough to make understanding impossible, so that the reader will never be able to contextualize Derrida's literary self.

" Miller argues that there is even evidence in the play of what the compiler felt he was doing, working within a specific literary tradition ; " as with his partial change of character names, the compiler seems to wish to produce dialogue much like his models, but not the same.

Liang argues that the 19th Century saw the prolific authorship of literary works in the absence of meaningful copyright that benefited the author.

" Shakespeare scholar Paul A. Cantor argues that this association is appropriate — the warlike Klingons find their literary matches in the characters Othello, Mark Antony, and Macbeth — but that it also reinforces a claim that the end of the Cold War means the end of heroic literature such as Shakespeare's.

Furthermore, Burrow argues that the ' metaphysical poets ' conceit was an attempt by twentieth-century writers to impose a ' high Anglican and royalist literary history ' on seventeenth-century English poetry.

His 1967 essay " Criticism and Crisis " argues that because literary works are understood to be fictions rather than factual accounts, they exemplify the break between a sign and its meaning: literature " means " nothing, but critics resist this insight because it lays bare " the nothingness of human matters " ( de Man quoting Rousseau, one of his favorite authors ).

Many scholars have noted how She was published as a book in 1887, the year of Queen Victoria's Golden Jubilee, and Andrienne Munich argues that Haggard's story " could fittingly be considered an ominous literary monument to Victoria after fifty years of her reign ".

He argues that incremental parsing of sentences needs to be addressed by literary theorists.

Moral truth cannot be gleaned because Ambrosio was destroyed by spiritual beings, and no earthly being can sufficiently oppose the “ power and cunning of supernatural beings .” Scenes of grotesquery and horror abound, which are a proof of “ a low and vulgar taste .” The character of Ambrosio is “ impossible ... contrary to nature .” Coleridge argues that the most “ grievous fault ... for which no literary excellence can atone ” is that “ our author has contrived to make of enchantments and witchcraft ‘ ‘ pernicious ’ ‘, by blending, with an irreverent negligence, all that is most awfully true in religion with all that is most ridiculously absurd in superstition ,” commenting with the immortal line that “ the Monk is a romance, which if a parent saw in the hands of a son or daughter, he might reasonably turn pale .” Coleridge finishes the piece by explaining that he was “ induced to pay particular attention to this work, from the unusual success which it has experienced ” and that “ the author is a man of rank and fortune.

Zvelebil argues that the appearance of the tradition in literary and epigraphical sources means that it cannot be dismissed as pure fiction.

On the other hand, Per Nykrog's argues that fabliaux were directed towards a noble audience, and concludes that fabliaux were the impetus for literary refreshment.

Gus DiZerega has argued that democracy is the spontaneous order form of government, David Emmanuel Andersson has argued that religion in places like the United States is a spontaneous order, and Troy Camplin argues that artistic and literary production are spontaneous orders.

Professor at the University of Exeter, Martin Sorrell argues that Rimbaud was and remains influential in not " only literary and artistic " circles but in political spheres as well, having inspired anti-rationalist revolutions in America, Italy, Russia, and Germany.

Melvin Tinker argues that the literary use of territorial spirits is a misnomer, since spirits referred to in various Biblical passages " are to be more associated with political and religious power and ideologies.

Barthes's essay argues against traditional literary criticism's practice of incorporating the intentions and biographical context of an author in an interpretation of a text, and instead argues that writing and creator are unrelated.