A term you'll meet in literary theory and Saussure.
Structuralism is the theory that the meaning of anything — a word, a myth, a novel — comes not from the thing itself but from its place in a larger system of relationships. It dominated literary criticism in the 1960s and set the stage for almost everything that followed.
The linguist Ferdinand de Saussure argued that a word (a "sign") has no natural connection to what it means. "Tree" means tree only because it differs from "free" and "three," and because speakers agree it does. Meaning is relational: a sign is defined by what it is not. Structuralists took this insight and applied it far beyond language.
If language is a system of differences, so is literature. Critics like Roland Barthes and Tzvetan Todorov looked past individual masterpieces to the underlying "grammar" of storytelling — the recurring units and oppositions that let any story make sense. The anthropologist Claude Lévi-Strauss did the same with myths, showing that wildly different tales share the same deep structures.
Structuralism's power is that it makes literature analysable like a science: you can map the system. Its limitation is that it tends to dissolve the individual work — and the author — into the system. That's why Barthes could announce "the death of the author": if meaning lives in the structure, the writer's intentions stop being the final word.
Almost every later school defines itself for or against structuralism. Post-structuralism and deconstruction accept its premise — meaning is relational and unstable — but reject its faith that the system can ever be fully mapped. Understand structuralism and the rest of modern theory falls into place.
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