Product Description: The last few decades have seen an explosion in the production of critical theories, with deconstructionists, poststructuralists, postmodernists, second-wave feminists, new historicists, cultural materialists, postcolonialists, black critics and queer theorists, among a host of others, all vying for our attention. The world around us can look very different on the critical theory applied to it. This vast range of interpretations can leave one feeling confused and frustrated. This book provides a route through the tangled jungle of competing theories. It provides a context for these recent developments by situating them within the longer-term tradition of critical analysis going back to the rise of Marxism. The essential methods and objectives of each theoretical school are presented in an incisive and accessible manner. Special attention is paid to recurrent themes and concerns that have preoccupied a century of critical theoretical activity.
I would say this book is very useful... Reading this book is not going to make you an expert on Foucault or Lacan- however, if what you are seeking is an idea as to the spectrum of schools and branches and concerns of "critical theory," or if you're not even terribly sure what "critical theory" IS, then I suggest you pick this book up. When I was just getting started, it really helped me create a "cognitive map" of the field. Basically you get a mapped out schema of the world of critical theory, with a few tantalizing tidbits dropped about some of the thinkers- then it is up to you to go out and get the real books and start reading them. But if you are starting from nothing, and don't even know what you want to read- Donald Rumsfield's "Unknown Unknowns," then start reading this book so you can figure out what your "Known unknowns" are: "I don't know anything about Althusser, but judging on what I read in this book, I now know that I want to study him," etc. I have a few other of the "Introducing" books, and, honestly, the only one I came back to at all frequently was this one. It does not try to "explain" any particular thinker, but to introduce you to a field- I think in this regard I think it is sucessful. It is by no means perfect- for instance, Zizek only gets two teeny little pages- but, again, it is making various "names" available to you, various schools, various strands- Frankfurt school, Deconstruction, Structuralism, Post Marxist, Post Feminist, etc- so that you can go out and get started. I highly recommend this book. I think it is terrific. (Plus the illustrations are great fun!) Critical theory can be a confusing hodge podge of theoretical models- this book will help you on the path.
Introducing Critical theory Too often an out of the blue comment was made without a reference to from either a previous introducing topic or a new topic that one could use as a base to understand the "out of the blue" new comment. Critical theory may have had its start with Socialism, but it didn't seem to have made any progress, other than critiques of Socialism. That is not what I had previously learned. It seemed to have come further in its development than just comparing the world to Socialism.
The Good The Bad and some Very Ugly Critical theory is one of those subjects that few study for the sheer joy of it. Let's face it. Only those who are taking their first course in UG literary studies will seek out other and more user-friendly texts that are not replete with the notorious jargon with which they abound. Unfortunately, one cannot place Stuart Sim's INTRODUCING CRITICAL THEORY on that short list. Part of the problem is inherent within Sims himself. Like the vast majority of humanities departments in America, Sims is an avowed Marxist. Nearly half of his text deals with Marxism and its many offshoots. If one does not hold that a failed dogma like Marxism ought to occupy central stage in literature, then one will have to look elsewhere for competing explanations of alternate theories. Additionally, as do most Marxists, Sims assumes that any literary ideology must have a vigorous political agenda. Indeed, he notes that "We live in political times." Unfortunately, when a critics assumes that the purpose of criticism is to reach a predetermined end, then a dispassionate examination of competing ideas goes out the window. Further, as he proceeds from one school of theory to another, he does not make a consistent attempt for the reader to get the "big picture" of how a myriad of theories evolved in a few decades. His strong points lie in his comic book illustration approach to discuss the all too short analyses that he does cover. In short, INTRODUCING CRITICAL THEORY is not much more than a few lame attempts to explicate what is by its very nature quite nearly inexplicable.
eh Maybe it's the boring subject matter, maybe it's the writing style, but I just couldn't get into this one.
Good for what it is Say you're a professor or someone like that and you've just been to a conference or you're planning to go to an event like that where at least some of the people will know something about whatever critical theory is. and you remember reading some of the stuff some years ago, but you don't really use the theories much, so you're kind of rusty. and then you come across this book and start going through the pages and before you know it an hour has passed, you've finished the book and your brain is over-activated by the many theoretical memories triggered by the material. you find yourself not simply repeating what's in the book, but looking at what you already know with a kind nudge, like an overheard conversation on an airplane that reminds you of something you ought to be thinking about. "Theory is power" Mr. Sims helfully reminds one on page 165.
Anything Goes Trivia
Trevor
Megaton Man
