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Addresses literary theory and criticism, comparative studies in terms of theme, genre movement and influence, and interdisciplinary perspectives.
This 1981 volume addresses literary theory and criticism, comparative studies in terms of theme, genre movement and influence, and interdisciplinary perspectives.
This volume explores a theme that has become central in our time, as 'the death of God' is widely seen to be succeeded by 'the death of Man'. Our contributors set forth its urgency in a variety of contexts. Among these, Peter Stern gives the paradigmatic history of the bereft, damaged, and repudiated self in German philosophy and literature from Kleist to Ernst Jilnger. In 'Not I' Michael Edwards pursues the theological and psychological consequences of a self without substance. Peter France supplies a witty account of the marriage of self and commerce more at home in the eighteenth-century tradition of British empiricism, and the challenge of Rousseau's refusal of the terms of commerce. Raman Selden explores views of the self from the Romantics to the poststructuralists. Roger Cardinal probes the secret diary: is the genre a contradiction in terms? Stephen Bann explores the representations of Narcissus in recent psychoanalytic theory. Other contributors include Pierre Dupuy, David James, Julie Scott Meisami, Gregory Blue,Mark Ogden and A. D. Nuttall.
Volume 10, dedicated to 'Comedy, Irony, Parody', celebrates the first decade of Comparative Criticism in a light-hearted vein. Michael Silk opens with a wide-ranging essay asserting the primacy of comedy and declaring its independence of tragedy. T. L. S. Sprigge explores philosophers who dared to write on laughter: Schopenhauer and Bergson. Bernard Harrison looks at the twentieth century's favourite comic novel, Tristram Shandy, in the light of Locke's views on 'the particular'. Peter Brand pursues the theatrical arts of disguises, masking, and gender-swapping through Renaissance Europe, from Ariosto to Shakespeare. Jane H. M. Taylor traces the danse macabre in modern 'black humour'. Christine Brooke-Rose, distinguished novelist and critic, reads from and comments on her own witty fictions. Michael Wood describes how Lolita outwitted her seducer.
A practical and comprehensive reference work, the Oxford Handbook provides the best single-volume source of original scholarship on all aspects of Coleridge's diverse writings. Thirty-seven chapters, bringing together the wisdome of experts from across the world, present an authoritative, in-depth, and up-to-date assessment of a major author of British Romanticism. The book is divided into sections on Biography, Prose Works, Poetic Works, Sources and Influences, and Reception. The Coleridge scholar today has ready access to a range of materials previously available only in library archives on both sides of the Atlantic. The Bollingen edition, of the Collected Works of Samuel Taylor Coleridge, forty years in production was completed in 2002. The Coleridge Notebooks (1957-2002) were also produced during this same period, five volumes of text with an additional five companion volumes of notes. The Clarendon Press of Oxford published the letters in six volumes (1956-1971). To take full advantage of the convenient access and new insight provided by these volumes, the Oxford Handbook examines the entire range and complexity of Coleridge's career. It analyzes the many aspects of Coleridge's literary, critical, philosophical, and theological pursuits, and it furnishes both students and advanced scholars with the proper tools for assimilating and illuminating Coleridge's rich and varied accomplishments, as well as offering an authoritative guide to the most up-to-date thinking about his achievements.
Addresses literary theory and criticism, comparative studies in terms of theme, genre movement and influence, and interdisciplinary perspectives.
The history of the most hotly debated areas of literary theory, including structuralism and deconstruction.
Comparative Criticism is an annual journal of comparative literature and cultural studies that has gained an international reputation since its inception in 1979. It contains major articles on literary theory and criticism; on a wide range of comparative topics; and on interdisciplinary debates. It includes translations of literary, scholarly and critical works; substantial reviews of important books in the field; and bibliographies on specialist themes for the year, on individual writers, and on comparative literary studies in Britain and Ireland.
Comparative Criticism is an annual journal of comparative literature and cultural studies that has gained an international reputation since its inception in 1979. It contains major articles on literary theory and criticism; on a wide range of comparative topics; and on interdisciplinary debates. It includes translations of literary, scholarly and critical works; substantial reviews of important books in the field; and bibliographies on specialist themes for the year, on individual writers, and on comparative literary studies in Britain and Ireland.