A Course Syllabus for History of Literary Theory and Criticism: From Plato to Metamodernism

May Day, photograph, by Julia Margaret Cameron, 1866, England.
Museum no. 933-1913. © Victoria and Albert Museum, London

Part 1: Course Overview
Literary theory and criticism are sibling branches that go hand in hand with literature. Without a doubt, they both are also as old as literature herself. It is certain that ancient poets, say Homer, had their critics. Homer, as many other ancient and modern poets tend to, invokes the muses. This act in itself is a theory of poetry. The muses are invoked at the beginning epics of Homer or the likes of him. This is a theory that posits poetry as an artistic utterance inspired by the divine. Plato calls the same notion divine madness. Aristotle later challenged this; emphasizing the sophistication and necessity of verbal art. Later, he brought forth the most famous and most efficient theory of poetics and tragedy. We will discuss critics, philosophers, and poets who contributed significant efforts to answer the following queries: “What is good literature? What is literature good for? How are we to interpret literature? What is the relationship between author, text, reader, and world?” Texts from classical, neoclassical, Romantic, Victorian, Modernist, and Postmodernist traditions and contemporary trends will be introduced and perused. In choosing these texts two criteria have been considered: First, they are pivotal texts of their respective literary traditions; in some cases, they inaugurated or influenced certain traditions significantly. In several historical discourses, they are the high points. The second reason is that some of these texts are still shaping the discourse of literary criticism/theory.

The Lament for Icarus- H. J. Draper

Part 2: Course Objectives/Outcomes
Performance quality in this course is highly dependent on two pivotal factors. First, instructor’s competence, strategy and choice of reading materials. Second, student’s comprehensive close reading of the given materials. If these two are achieved, the course will be able to approximate the following outcomes:
• Students will be able to grasp a clear understanding of important texts in the history of theory and criticism.
• Students’ faculty of critical thinking will grow to reach a certain level of sophistication so as to peruse and read texts of literature critically. But reading and analyzing texts is the eventual outcome of this course not the immediate one.
• We will have an understanding of historical attitudes toward literature. This is important for comprehending current issues in literary theory, and for use in the classroom/research. How theory and criticism has shaped the field of literature and other related fields is another objective.

Part 3: Required Texts
Book Required:
Leitch, Vincent B. Norton Anthology of Theory and Criticism. Norton & Company Limited, W. W., 2018. Third edition

Major Sources:
1. The Cambridge History of Literary Criticism (Volumes One to Seven), Cambridge: Cambridge University Press, 2011.
2. The History of Literary Criticism from Plato to the Present, M. A. R. Habib, Oxford: Blackwell, 2005.
3. An Introduction to Literary Criticism. Richard Dutton. Longman, 1984.
4. A Short History of Literary Criticism. Vernon Hall. The Merlin Press, 1963.

Suggestions for Further Readings:
Eagleton, Terry. Literary Theory an Introduction. University of Minnesota Press, 2008.

⃰indeed more books, papers, and other materials will be mentioned during the course. Yet, these two are primary for every literature student. There will be some parts of these two’s content delivered during the course, and only a small portion of these parts are going to be on your final exam.

Part 4: Classroom Rules and Standards of Online Behavior

• All electronic gadgets must be off or set to silent mode. If you use them for reading PDFs and other class-related files, make sure they will not distract you or others so as to prevent the class from digressions.
• Punctuality is a non-negotiable must.
• Class activities are expected of the students.
• Last but not least, respect the class. Do not leave the class in groups during the breaks. You absolutely must not extend breaks’ duration on your own authority. For each session, a 10 minute break is already scheduled.

You all have my thanks and appreciation since you have always observed these rules and regulations. Bringing them here again is only a matter of formality and academic regulations.

Part 5: Shedule

Literary Theory — 45-Session Study Plan

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