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In 1933, Northrop Frye was a recent university graduate, beginning to learn his craft as a literary essayist. By 1963, with the publication of The Educated Imagination, he had become an international academic celebrity. In the intervening three decades, Frye wrote widely and prodigiously, but it is in the papers and lectures collected in this installment of the Collected Works of Northrop Frye, that the genesis of a distinguished literary critic can be seen. Here is Frye tracing the first outlines of a literary cosmology that would culminate in The Anatomy of Criticism (1958) and shapeThe Great Code (1982) and Words with Power (1990). At the same time that Frye garnered such international acclaim, he was also a working university teacher, lecturing in the University of Toronto's English Language and Literature program. In her lively introduction, Germaine Warkentin links Frye's evolution as a critic with his love of music, his passionate concern for his students, and his growing professional ambition. The writings included in this volume show how Frye integrated ideas into the work that would consolidate the fame that Fearful Symmetry (1947) had first established.
In 1933, Northrop Frye was a recent university graduate, beginning to learn his craft as a literary essayist. By 1963, with the publication of The Educated Imagination, he had become an international academic celebrity. In the intervening three decades, Frye wrote widely and prodigiously, but it is in the papers and lectures collected in this installment of the Collected Works of Northrop Frye, that the genesis of a distinguished literary critic can be seen. Here is Frye tracing the first outlines of a literary cosmology that would culminate in The Anatomy of Criticism (1958) and shapeThe Great Code (1982) and Words with Power (1990). At the same time that Frye garnered such international acclaim, he was also a working university teacher, lecturing in the University of Toronto's English Language and Literature program. In her lively introduction, Germaine Warkentin links Frye's evolution as a critic with his love of music, his passionate concern for his students, and his growing professional ambition. The writings included in this volume show how Frye integrated ideas into the work that would consolidate the fame that Fearful Symmetry (1947) had first established.
More than fifty years after the publication of Anatomy of Criticism, Northrop Frye remains one of Canada's most influential intellectuals. This reappraisal reasserts the relevance of his work to the study of literature and illuminates its fruitful intersection with a variety of other fields, including film, cultural studies, linguistics, and feminism. Many of the contributors draw upon the early essays, correspondence, and diaries recently published as part of the Collected Works of Northrop Frye series, in order to explore the development of his extraordinary intellectual range and the implications of his imaginative syntheses. They refute postmodernist arguments that Frye's literary criticism is obsolete and propose his wide-ranging and non-linear ways of thinking as a model for twenty-first century readers searching for innovative ways of understanding literature and its relevance to contiguous disciplines. The volume provides an in-depth examination of Frye's work on a range of literary questions, periods, and genres, as well as a consideration of his contributions to literary theory, philosophy, and theology. The portrait that emerges is that of a writer who still has much to offer those interested in literature and the ways it represents and transforms our world. The book's overall argument is that Frye's case for the centrality of the imagination has never been more important where understanding history, reconciling science and culture, or reconceptualizing social change is concerned.
Here is a specialized dictionary of quotations based on the thoughts and writings of a single person. It is evidence that there is a Canadian writer of whom it may be said that we as his readers can grow up inside his work "without ever being aware of a circumference."
Thinking and Practicing Reconciliation asserts that literary representations of conflict offer important insights into processes of resolution and practices of reconciliation, and that it is crucial to bring these debates into the post-secondary classroom. The essays collected here aim to help teachers think deeply about the ways in which we can productively integrate literature on/as reconciliation into our curricula. Until recently, scholarship on teaching and learning in higher education has not been widely accepted as equal to research in other fields. This volume seeks to establish that serious analysis of pedagogical practices is not only a worthy and legitimate academic pursuit, but also that it is crucial to our professional development as researcher-educators. The essays in this volume take seriously both the academic study of literature dealing with the aftermath of gross human-rights violations and the teaching of this literature. The current generation of college-aged students is deeply affected by the proximity of violence in our global world. This collection recognizes educators’ responsibility to enable future generations to analyze conflict – whether local or global – and participate in constructive discourses of resolution. Ultimately, Thinking and Practicing Reconciliation charts a course from theory to practice and offers new perspectives on the very human endeavor of storytelling as a way to address human-rights injustices. In their focus on pedagogical strategies and frameworks, the essays in this volume also demonstrate that, as educators, our engagement with students can indeed produce practices of reconciliation that start in the classroom and move beyond it.
Myth criticism flourished in the mid-twentieth century under the powerful influence of Canadian thinker Northrop Frye. It asserted the need to identify common, unifying patterns in literature, arts, and religion. Although it was eclipsed by postmodern theories that asserted difference and conflict, those theories proved incapable of inspiring solidarity or guiding social action. The Productions of Time argues for a return to myth criticism in order to refine and extend its vision. With the aim of rehabilitating myth criticism for our time, Michael Dolzani sketches an anatomy of the imagination as demonstrated in the total body of its productions, including literature, mythology, the arts, popular culture, and religious and political texts. Dolzani situates a vast panoply of images, character types, plot structures, themes, and genres to better understand their purposes, their recurrences across broad spans of history, and their interrelations. Illustrating the relationship between mythology and history, The Productions of Time proposes a symbolic language as a way of enabling dialogue across ideological and individual differences. Arguing for the ethical and intellectual necessity of conceiving a unifying pattern that transcends differences, The Productions of Time demonstrates that imagination is part of the human inheritance, common to all, not just to poets and mystics.
Given the upcoming five-hundred-year anniversary of Luther's ninety-five theses, it is appropriate to reflect on the impact of Luther's ideas. This collection of essays, which began as conference papers on the literature of Luther, seeks to initiate conversations on the many and varied receptions of the reformer. Most of the essays are interdisciplinary, crossing boundaries between literature, history, and theology. Both Catholic and Protestant voices are well represented. The topics covered are wide-ranging so that for any interested reader several essays will likely strike a chord.
Throughout its history, the Christian church has had a troubled relationship with the arts, whether literature, poetry, music, visual arts, or other forms of artistic expression. This volume is not designed to resolve the issues, but it is designed to present a number of different statements about various dimensions of the arts in their relationship to the Bible. The Bible is the document that stands behind the Christian church as an inspiration to it and to its arts. As a result, we have divided this volume into six parts: perspectives on the arts, culture and art, visual enactments, contemporary interpretations, music, and the Bible and literature. Many of the issues that the history of the interaction of the arts and the Bible within the Christian church has uncovered are insightfully and artfully addressed by this book. The wide range of contributors runs the gamut from practicing artists of various media to scholars within varied academic fields.
Few families have contributed as much to English history and literature-indeed, to the arts generally-as the Sidney family. This two-volume Ashgate Research Companion assesses the current state of scholarship on family members and their impact, as historical and literary figures, in the period 1500-1700. Volume 1: Lives, begins with an overview of the Sidneys and politics, providing some links to court events, entertainments, literature, and patronage. The volume gives biographies to prominent high-profile Sidney women and men, as well as sections assessing the influence of the family in the areas of the English court, international politics, patronage, religion, public entertainment, the visual arts, and music. The focus of the second volume is the literary contributions of Sir Philip Sidney; Mary Sidney Herbert, Countess of Pembroke; Lady Mary Wroth; Robert Sidney, Earl of Leicester; and William Herbert, Earl of Pembroke.
An intertextual approach to fairy-tale criticism and fairy-tale retellings -- Marcia K. Lieberman's "Some day my prince will come"--Bruno Bettelheim's The uses of enchantment -- Sandra M. Gilbert and Susan Gubar's The madwoman in the attic.