Matching key theoretical concepts to the philosophers/critics who coined or popularized them:

A. "Bricolage" — (III) Claude Lévi-Strauss. A structuralist concept describing the creation of myth or culture from a diverse range of available, pre-existing materials (the "bricoleur").

B. "Dasein" — (I) Martin Heidegger. A fundamental concept in existential phenomenology, translating roughly to "being-there" or human existence/consciousness.

C. "Parapraxes" — (II) Sigmund Freud. In psychoanalysis, these are errors in speech, memory, or action (commonly known as "Freudian slips") that reveal unconscious desires.

D. "Polyphony" — (IV) Mikhail Bakhtin. Used to describe literature (like Dostoevsky's novels) containing a plurality of independent, unmerged voices and consciousnesses.

The correct chronological sequence of these foundational texts in theory is:

• (A) Mythologies (1957): Roland Barthes's structuralist analysis of popular culture.
• (C) Culture and Society (1958): Raymond Williams's foundational text for British Cultural Studies.
• (B) Of Grammatology (1967): Jacques Derrida's text establishing Deconstruction.
• (D) Blindness and Insight (1971): Paul de Man's major work of American deconstruction.
• (E) The Location of Culture (1994): Homi K. Bhabha's major postcolonial text.

Reader-Response Criticism (associated with Stanley Fish, Wolfgang Iser, and Hans Robert Jauss) fundamentally shifts the focus of literary analysis away from the author and the text, placing it onto the reader's experience.

• (A) True: It challenges formalism/New Criticism, arguing meaning is not locked passively inside the text.
• (B) True: It rejects the author's intended meaning as the ultimate authority.
• (C) True: It positions the reader's active cognitive/affective experience as the actual source of the text's meaning.

Why D is wrong: Treating the text as "self-sufficient" or autonomous is the defining trait of New Criticism, which Reader-Response explicitly attacks.

This profound quote is from Frantz Fanon's seminal 1952 text, Black Skin, White Masks (specifically from the chapter "The Fact of Blackness" or "The Lived Experience of the Black Man").

The quote vividly captures the intense psychological trauma, alienation, and literal sense of disintegration experienced by a Black man living under the crushing weight of systemic racism and the inescapable "white gaze" of the colonial world.

Phenomenology is a philosophical movement that deeply influenced 20th-century literary theory (like the Geneva School).

• (A) True: It focuses entirely on exploring the structures of subjective human consciousness and experience (how things "appear" to us).
• (B) True: It was founded by the German philosopher Edmund Husserl.
• (C) True: Martin Heidegger was Husserl's student and expanded phenomenology into existentialism (Dasein).
• (D) True: Heidegger's approach sought the "essence" of Being (Ontology).

Why E is wrong: Phenomenological literary criticism (like that of Georges Poulet) does focus on the author's consciousness, but the broad philosophical discipline of Phenomenology itself does not reduce "text" purely to the embodiment of authorial consciousness.

In his highly influential work Narrative Discourse (1972), French structuralist Gérard Genette classified narrators based on their relationship to the story they are telling:

• (D) Homodiegetic: The narrator is a character participating in the story they are telling (e.g., Jane Eyre, Ishmael). If they are the main protagonist, they are autodiegetic.
• (B) Heterodiegetic: The narrator is not a character in the story and does not participate in the events (e.g., the omniscient narrator in Pride and Prejudice).

(Note: Genette also uses Extradiegetic/Intradiegetic, but those refer to narrative levels—e.g., an outside narrator vs. a narrator inside a frame story. "Interdiegetic" is not a Genette term).

Postcolonial theory (associated with Said, Bhabha, Spivak, Fanon) critically analyzes the legacy of colonialism and imperialism:

• (A) True: It rejects Western "universalism" (the idea that white, European experiences represent the default human condition).
• (B) True: It highlights cultural difference and how the colonized "Other" is represented.
• (D) True: It celebrates "hybridity" (Homi Bhabha), showing how cultures mix and destabilize pure colonial authority.
• (E) True: It fiercely resists homogenization, preferring to highlight the specific, localized struggles of race and class.

Why C is wrong: Postcolonialism is a critical, often radically political theory focused on resistance, trauma, power, and struggle. It does not act on a naïve principle of "peaceful co-existence."

Marge Piercy's classic 1976 feminist sci-fi/utopian novel Woman on the Edge of Time is heavily influenced by the radical feminist theories found in Shulamith Firestone's The Dialectic of Sex (1970).

Firestone argued that true women's liberation required seizing the means of reproduction (using technology like artificial wombs) to abolish the biological family unit. Piercy's novel literally brings this theory to life, depicting a future utopia (Mattapoisett) where babies are grown in brooders, gender hierarchies are eliminated, and men can chest-feed infants.

(Note: Atwood's novel and Haraway's Manifesto were published in the 1980s, after Piercy's book).

Gynocriticism (a term coined by Elaine Showalter) specifically refers to the historical study of women as writers, seeking to uncover a distinct female literary tradition, female themes, and female structures of writing.

• (A) Patricia Meyer Spacks' The Female Imagination (1975)
• (D) Ellen Moers' Literary Women (1976)
• (C) Gilbert and Gubar's The Madwoman in the Attic (1979)

Why B and E are excluded from pure Gynocriticism: Millett's Sexual Politics and Ellmann's Thinking About Women belong to an earlier phase of feminist criticism known as "the feminist critique," which focused primarily on analyzing how male authors depicted and subjugated women in literature, rather than studying women writers themselves.