This sophisticated and wide-ranging look at literary criticism addresses the major theorists of today and proposes a constructive approach to challenging critical debates. Disclosing conflict as the inevitable outcome of historical change, Suresh Raval refuses the stark either-or choice between the foundationalist stance, which seeks to find the right answers, and the relativist position, which denies the possibility of identifying right and wrong. Raval explores the question of conflict in literary criticism and theory by analyzing how different theories have treated key issues, not to resolve these problems but to show why they resist decisive solution.
Ivor Armstrong Richards was one of the founders of modern literary criticism. He enthused a generation of writers and readers and was an influential supporter of the young T.S. Eliot. 'Principles of Literary Criticism' was the text that first established his reputation and pioneered the movement that became known as the 'New Criticism'. Through a powerful presentation of the need to read critically and creatively, with an alertness to the psychological and emotional effects of language, Richards presented a powerful new understanding both of literature and of the role of the reader.
This volume of The Cambridge History of Literary Criticism, first published in 2000, provides a thorough account of the critical tradition emerging with the modernist and avant-garde writers of the early twentieth century (Eliot, Pound, Stein, Yeats), continuing with the New Critics (Richards, Empson, Burke, Winters), and feeding into the influential work of Leavis, Trilling and others who helped form the modern institutions of literary culture. The core period covered is 1910–60, but explicit connections are made with nineteenth-century traditions and there is discussion of the implications of modernism and the New Criticism for our own time, with its inherited formalism, anti-sentimentalism, and astringency of tone. The book provides a companion to the other twentieth-century volumes of The Cambridge History of Literary Criticism, and offers a systematic and stimulating coverage of the development of the key literary-critical movements, with chapters on groups and genres as well as on individual critics.
This volume attempts to represent European theories of poetry from Plato's time to the year 1700. Editor Allan H. Gilbert has selected writers who in their own day spoke for the future rather than the past, and those whose conceptions are of value at present, either in developing our own critical thought or in interpreting the most important literature of their own ages.
Blanchot's writings on literature have imposed themselves in the canon of modern literary theory and yet have remained a mysterious presence. This is in part due to their almost hypnotic literary style, in part due to their distinctive amalgam of a number of philosophical sources (Hegel, Heidegger, Levinas, Bataille), which, although hardly unknown in the Anglophone philosophical world, have not yet made themselves fully at home in literary theory. This book aims to make visible the coherence of Blanchot's critical project. To recognize the challenge that Blanchot represents for literary criticism, one has to see that he always has in view the self-interrogation that characterizes modern literature, both in its theory and its practice. Blanchot's essays study the forms and the paths of this research, its solutions and its impasses; and increasingly, they sketch out the philosophical and historical horizon within which its significance appears. The effect is to revise the terms in which we see the genesis of the modern literary concept, not least of the manifestations of which is literary criticism itself.
As the study of literature has extended to cultural contexts, critics have developed a language all their own. Yet, argues Mark Bauerlein, scholars of literature today are so unskilled in pertinent sociohistorical methods that they compensate by adopting cliches and catchphrases that serve as substitutes for information and logic. Thus by labeling a set of ideas an "ideology" they avoid specifying those ideas, or by saying that someone "essentializes" a concept they convey the air of decisive refutation. As long as a paper is generously sprinkled with the right words, clarification is deemed superfluous. Bauerlein contends that such usages only serve to signal political commitments, prove me...
Literary criticism produced by Indian scholars from the earliest times to the present age is represented in this book. These include Bharatamuni, Tholkappiyar, Anandavardhana, Abhinavagupta, Jnaneshwara, Amir Khusrau, Mirza Ghalib, Rabindranath Tagore, Sri Aurobindo, B.S. Mardhekar, Ananda Coomaraswamy, and A.K. Ramanujam and Sudhir Kakar among others. Their statements have been translated into English by specialists from Sanskrit, Persian and other languages.
Presents criticism on the major literary figures and nonfiction writers, including novelists, poets, playwrights, and literary theorists from 1900-1999 with every fourth volume covering major literary movements and trends.