Are structural configurations capable of generating meaning? What
motivates the use of philosophical language, literary language? How
do we read literary claims against this motivation? How do we know
the motivations are accurate? What makes synthetic a priori
cognition of literary language possible?
How does Derrida respond
to the notion that language structures reality? What is the relation
between (scientific and literary language) and the world outside
of language--is there such a world?
How do critics enact
the charge to "open up a new space of reading"? How do
we characterize American Deconstruction?
Where is a C-sharp when
it's not being played by an instrument? Is that blip on the screen
a plane, or a cluster of pixels? What conditions must be met before
you react to that blip as if it were a plane? Does the operator know
that a plane is actually there? Does it matter?
Theory and Practice, Christopher Norris (Routledge, 2002). All.
2) Antony Easthope,
Literary into Cultural Studies (Routledge, 1991), selections.
3) Herman Rapaport,
The Theory Mess: Deconstruction in Eclipse (Columbia UP,