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First published in 1985, "The Subject of Tragedy" takes the drama of the sixteenth and seventeenth centuries as the starting point for an analysis of the differential identities of man and woman. Catherine Belsey charts, in a range of fictional and non-fictional texts, the production in the Renaissance of a meaning for subjectivity that is identifiably modern. The subject of liberal humanism self-determining, free origin of language, choice and action is highlighted as the product of a specific period in which man was the subject to which woman was related.

Everyone knows the story of the star-crossed lovers but close attention to the language of the play can deepen and darken the legend. As icons of passion, Romeo and Juliet reveal the recklessness, as well as the idealism, of desire in a violent world. Catherine Belsey shows how you can tease out the play's subtle meanings and goes on to discuss key adaptations, including the classic Baz Lurhmann film.

What is poststructuralist theory, and what difference does it make to literary criticism? Where do we find the meaning of the text: in the author's head? in the reader's? Or do we, instead, make meaning in the practice of reading itself? If so, what part do our own values play in the process of interpretation? And what is the role of the text? Catherine Belsey considers these and other questions concerning the relations between human beings and language, readers and texts, writing and cultural politics. Assuming no prior knowledge of poststructuralism, Critical Practice...

First published in 1985, "The Subject of Tragedy" takes the drama of the sixteenth and seventeenth centuries as the starting point for an analysis of the differential identities of man and woman. Catherine Belsey charts, in a range of fictional and non-fictional texts, the production in the Renaissance of a meaning for subjectivity that is identifiably modern. The subject of liberal humanism self-determining, free origin of language, choice and action is highlighted as the product of a specific period in which man was the subject to which woman was related. "

• Offers a brief, lively, and accessible account of a new direction for critical practice, from one of Britain's most prominent literary theorists and critics
• Proposes a new path for future criticism, more open to reflecting on the pleasures of fiction
• Written in a clear, jargon-free style, and illustrated throughout with numerous examples

At the heart of criticism lies one question: What do you think of it? Every time we comment on an artefact, whether a poem, a play, a painting, a novel or a piano concerto, we are acting as critics, making our own judgements and interpretations. Among the most fundamental of human intellectual activities, criticism offers a starting point for many of our journeys towards understanding.

Focusing particularly on stories, plays and poems, Criticism traces the central concepts and controversies in criticism, from Plato to...