Presents four theories describing the limits of literary interpretation, challenging "the cancer of uncontrolled interpretation" that diminishes the meaning and the basis of communication. -- Back cover.

This book brings together some of the most distinguished figures currently at work in philosophy, literary theory and criticism to debate the limits of interpretation.

Advocates a broad revision of the academic study of literature, proposing an adaptive, text-specific approach and using Anna Karenina to illustrate this method.

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Why do critics feel impelled to unmask and demystify the works that they read? What is the rationale for their conviction that language is always withholding some important truth, that the critic's task is to unearth what is unsaid, naturalized, or repressed? These are the features of critique, a mode of thought that thoroughly dominates academic criticism. In this book, Rita Felski brilliantly exposes critique's more troubling qualities and proposes alternatives to it. Critique, she argues, is not just a method but also a sensibility--one best captured by Paul Ricoeur's phrase "the hermeneutics of suspicion." As the characteristic affect of critique, suspicion, Felski shows, helps us understand critique's seductions and limitations. The questions that Felski poses about critique have implications well beyond intramural debates among literary scholars. Literary studies, says Felski, is facing a legitimation crisis thanks to a sadly depleted language of value that leaves the field struggling to find reasons why students should care about Beowulf or Baudelaire. Why is literature worth bothering with? For Felski, the tendencies to make literary texts the object of suspicious reading or, conversely, impute to them qualities of critique, forecloses too many other possibilities. Felski offers an alternative model that she calls "postcritical reading." Rather than looking behind the text for its hidden causes, conditions, and motives, she suggests that literary scholars place themselves in front of a text, reflecting on what it calls forth and makes possible. Here Felski enlists the work of Bruno Latour to rethink reading as a co-production between actors, rather than an unraveling of manifest meaning, a form of making rather than unmaking. As a scholar with an abiding respect for theory who has long deployed elements of critique in her own work, Felski is able to provide an insider's account of critique's limits and alternatives that will resonate widely in the humanities.

Our species has been hunting for meaning ever since we departed from our cousins in the evolutionary tree. We developed sophisticated forms of communication. Yet, as much as they can convey meaning and foster understanding, they can also hide meaning and prevent comprehension. Indeed, we can never be sure that a "yes" conveys assent or that a smile reveals pleasure. In order to ascertain what communicative behavior "means", we have to go through an elaborate cognitive process of interpretation. This book deals with how we achieve the daily miracle of understanding each other. Based on the author ’s contributions to pragmatics, the book articulates his perspective using the insights of linguistics, the philosophy of language and rhetoric, and confronting alternatives to it. Theory formation is shaped by application to fields of human activity – such as legal practice, artificial intelligence, psychoanalysis, the media, literature, aesthetics, ethics and politics – where interpretation and understanding are paramount. Using an accessible language, this is a book addressed to specialists as well as to anyone interested in interpreting understanding and understanding the potentialities and limits of interpretation.

Philosophy and literary theory have devoted a great deal of their analysis to the problem of the origin and modalities of argumentation, but there has been an almost total lack of interest in the question of its procedural limits. Manners of Interpretation is an essay on ways of ending interpretations in literary studies as well as on patterns of controversy and consensus in the humanities. Tamen examines two major families of indisputable arguments in post-Enlightenment literary criticism and addresses the question of how one recognizes the proper time to use a given argument, especially and specifically an indisputable argument. The former aim leads to a tentative history of the constitution of literary theory as a set of identifiable ways of using arguments. The latter, meanwhile, points to a theory of argument and controversy and to a contribution to the discussion of human activities that, in spite of not being teachable, are nevertheless learnable. Such a theory seems to be particularly relevant both to the study of the interpretive dimension of literary criticism as it is now practiced and also to the knowledge and description of an area of the humanities that has often been neglected.