A. The Poetics of Prose — (II) Tzvetan Todorov. A structuralist analysis of narrative prose.

B. Problems of Dostoevsky's Poetics — (III) Mikhail Bakhtin. The seminal text where Bakhtin introduces the concepts of "polyphony" and "dialogism."

C. Surprised by Sin: The Reader in Paradise Lost (1967) — (I) Stanley Fish. A foundational text of Reader-Response criticism.

D. The Way Women Write (1977) — (IV) Mary Hiatt. An early feminist critique of how male standards are unfairly applied to feminine writing styles.

J. Hillis Miller (a member of the Yale School of Deconstruction) performed a famous deconstructionist reading of Shelley's final, unfinished poem, "The Triumph of Life."

In his essay "The Critic as Host," Miller argues that the poem contains within itself both logocentric metaphysics and nihilism, which jostle irreconcilably against each other, destabilizing any single "true" meaning of the text.

"Contrapuntal reading" is a critical method developed by postcolonial theorist Edward Said (most notably in his book Culture and Imperialism).

It involves reading a text (like Jane Austen's Mansfield Park) with a simultaneous awareness of the dominant metropolitan narrative and the hidden, marginalized colonial histories (like the Caribbean sugar plantations) that quietly sustain the world of the text.

Stuart Hall was a foundational figure of the Birmingham School of Cultural Studies.

Along with Richard Hoggart and Raymond Williams, Hall helped establish the Centre for Contemporary Cultural Studies (CCCS) at Birmingham University in 1964. Hall later became its director, expanding the field to encompass race, gender, and the reception/encoding of media (e.g., his Encoding/Decoding model).

Statement I is Correct: In her 1972 essay "Lying in Politics" (written in response to the Pentagon Papers), Hannah Arendt discusses "defactualization"—the systemic inability to discern fact from fiction in political discourse. This is widely cited as an early theorization of what we now call "post-truth."

Statement II is Incorrect: "Post-truth" does not rely solely on absolute lies. Instead, it describes a political culture where objective facts are simply less influential in shaping public opinion than appeals to emotion, tribalism, and personal belief. It is about the irrelevance of truth, not just the presence of outright lies.

Coined by legal scholar Kimberlé Crenshaw in 1989, "Intersectionality" is an analytical framework used to understand how interlocking systems of power and oppression (like race, class, gender, and sexuality) overlap to affect marginalized groups.

Therefore, it is widely used in the contexts of racial justice (B), analyzing the complex construction of power (D), and navigating identity politics (E).

It has nothing to do with "academic deterioration" (A) or "peace formation" (C).

A. Gender and Nation (1997) — (IV) Nira Yuval-Davis. A key text analyzing how gender dynamics shape nationalism.

B. Greek Homosexuality (1978) — (II) Kenneth J. Dover. A seminal historical study using archaic and classical sources.

C. The Subject of Tragedy (1985) — (I) Catherine Belsey. An analysis of 16th and 17th-century drama examining the differential identities of men and women.

D. The Souls of Black Folk (1903) — (III) W.E.B. Du Bois. A cornerstone of African-American literature and sociology, introducing concepts like "double consciousness."

A Literature of Their Own: British Women Novelists from Brontë to Lessing (1978) is a foundational text in feminist literary criticism written by Elaine Showalter.

In this book (and her related essays), she pioneered the concept of Gynocriticism (the historical study of women as writers and the mapping of a distinct female literary tradition) and outlined the three phases of women's writing.

(Note: Gilbert and Gubar wrote 'The Madwoman in the Attic'; Woolf wrote 'A Room of One's Own').

In her essay Towards a Feminist Poetics (and expanded in A Literature of Their Own), Elaine Showalter traces the history of women's literature into three distinct phases:

• (A) Feminine Phase (1840–1880): Women internalized male standards and tried to write to equal male achievements (imitation).
• (D) Feminist Phase (1880–1920): Women's writing protested against male standards and advocated for women's rights (protest).
• (E) Female Phase (1920–Onward): Women rejected both imitation and protest, turning inward to female experience to create an autonomous art (self-discovery/gynocriticism).

The correct chronological sequence based on publication dates is:

• (E) A Room of One's Own (1929): Virginia Woolf's foundational modern feminist essay.
• (D) Thinking About Women (1968): Mary Ellmann's witty critique of male literary prejudice.
• (A) Sexual Politics (1970): Kate Millett's classic second-wave radical feminist text.
• (C) The Female Imagination (1976): Patricia Meyer Spacks's psychological/literary investigation.
• (B) A World of Difference (1987): Barbara Johnson's deconstructive analysis.

The famous aphorism "the medium is the message" was coined by the Canadian media theorist Marshall McLuhan in his 1964 book Understanding Media: The Extensions of Man.

The phrase means that the form of a medium (e.g., television, print, internet) embeds itself in any message it transmits or conveys, fundamentally shaping human thought and societal structure, regardless of the actual content being delivered.