Download Free Literature Against Criticism Book in PDF and EPUB Free Download. You can read online Literature Against Criticism and write the review.

This is a book about the power game currently being played out between two symbiotic cultural institutions: the university and the novel. As the number of hyper-knowledgeable literary fans grows, students and researchers in English departments waver between dismissing and harnessing voices outside the academy. Meanwhile, the role that the university plays in contemporary literary fiction is becoming increasingly complex and metafictional, moving far beyond the ‘campus novel’ of the mid-twentieth century. Martin Paul Eve’s engaging and far-reaching study explores the novel's contribution to the ongoing displacement of cultural authority away from university English. Spanning the works of Jennifer Egan, Ishmael Reed, Tom McCarthy, Sarah Waters, Percival Everett, Roberto Bolaño and many others, Literature Against Criticism forces us to re-think our previous notions about the relationship between those who write literary fiction and those who critique it.
Cover -- Title Page -- Copyright -- Contents -- Preface -- Introduction -- 1. The Critical Revolution Turns Right -- 2. The Scholarly Turn -- 3. The Historicist/Contextualist Paradigm -- 4. The Critical Unconscious -- Conclusion: The Future of Criticism -- Appendix: The Critical Paradigm and T.S. Eliot -- Notes -- Acknowledgments -- Index
“The role of the critic,” Daniel Mendelsohn writes, “is to mediate intelligently and stylishly between a work and its audience; to educate and edify in an engaging and, preferably, entertaining way.” His latest collection exemplifies the range, depth, and erudition that have made him “required reading for anyone interested in dissecting culture” (The Daily Beast). In Ecstasy and Terror, Mendelsohn once again casts an eye at literature, film, television, and the personal essay, filtering his insights through his training as a scholar of classical antiquity in illuminating and sometimes surprising ways. Many of these essays look with fresh eyes at our culture’s Greek and Roman models: some find an arresting modernity in canonical works (Bacchae, the Aeneid), while others detect a “Greek DNA” in our responses to national traumas such as the Boston Marathon bombings and the assassination of JFK. There are pieces on contemporary literature, from the “aesthetics of victimhood” in Hanya Yanagihara’s A Little Life to the uncomfortable mixture of art and autobiography in novels by Henry Roth, Ingmar Bergman, and Karl Ove Knausgård. Mendelsohn considers pop culture, too, in essays on the feminism of Game of Thrones and on recent films about artificial intelligence—a subject, he reminds us, that was already of interest to Homer. This collection also brings together for the first time a number of the award-winning memoirist’s personal essays, including his “critic’s manifesto” and a touching reminiscence of his boyhood correspondence with the historical novelist Mary Renault, who inspired him to study the Classics.
A compelling intellectual and literary history of midcentury America In a midcentury American cultural episode forgotten today, intellectuals of all schools shared a belief that human nature was under threat. The immediate result was a glut of dense, abstract books on the "nature of man." But the dawning "age of the crisis of man," as Mark Greif calls it, was far more than a historical curiosity. In this ambitious intellectual and literary history, Greif recovers this lost line of thought to show how it influenced society, politics, and culture before, during, and long after World War II. During the 1930s and 1940s, fears of the barbarization of humanity energized New York intellectuals, Chicago protoconservatives, European Jewish émigrés, and native-born bohemians to seek "re-enlightenment," a new philosophical account of human nature and history. After the war this effort diffused, leading to a rebirth of modern human rights and a new power for the literary arts. Critics' predictions of a "death of the novel" challenged writers to invest bloodless questions of human nature with flesh and detail. Hemingway, Faulkner, and Richard Wright wrote flawed novels of abstract man. Succeeding them, Ralph Ellison, Saul Bellow, Flannery O'Connor, and Thomas Pynchon constituted a new guard who tested philosophical questions against social realities—race, religious faith, and the rise of technology—that kept difference and diversity alive. By the 1960s, the idea of "universal man" gave way to moral antihumanism, as new sensibilities and social movements transformed what had come before. Greif's reframing of a foundational debate takes us beyond old antagonisms into a new future, and gives a prehistory to the fractures of our own era.
The Last Enchantments is a powerfully moving and lyrically written novel. A young American embarks on a year at Oxford and has an impassioned affair that will change his life forever After graduating from Yale, William Baker, scion of an old line patrician family, goes to work in presidential politics. But when the campaign into which he's poured his heart ends in disappointment, he decides to leave New York behind, along with the devoted, ambitious, and well-connected woman he's been in love with for the last four years. Will expects nothing more than a year off before resuming the comfortable life he's always known, but he's soon caught up in a whirlwind of unexpected friendships and romantic entanglements that threaten his safe plans. As he explores the heady social world of Oxford, he becomes fast friends with Tom, his snobbish but affable flat mate; Anil, an Indian economist with a deep love for gangster rap; Anneliese, a German historian obsessed with photography; and Timmo, whose chief ambition is to become a reality television star. What he's least prepared for is Sophie, a witty, beautiful and enigmatic woman who makes him question everything he knows about himself. For readers who made a classic of Richard Yates's A Good School, Charles Finch's The Last Enchantments is a sweeping novel about love and loss that redefines what it means to grow up as an American in the twenty-first century.
In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art. Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions. Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life.
Perspective Criticism sets out a new and illuminating biblical methodology designed to help the reader of biblical narratives in which there is a character engaged in action but no explicit indication from the storyteller on how the action is to be evaluated. Gary Yamasaki argues that in these cases we are receiving cryptic guidance from the author through the narrative technique of point-of-view. In such cases the methodology of Perspective Criticism may be applied to reveal this abstruse guidance. Gary Yamasaki provides a series of frames of analysis within the theory of Perspective Criticism which may be applied to biblical stories: the spatial, psychological, informational, temporal, phraseological, and ideological perspectives. Because the majority of the point-of-view devices found in biblical narratives are also used in cinematic storytelling, the book includes accessible analyses of film scenes, providing pop-culture illustrations of the workings of the point-of-view perspective. Gary Yamasaki concludes by applying his method to two case studies: the New Testament story of Gamaliel, and the Old Testament story of Gideon. In his work Yamasaki creates a valuable foundation for the deeper understanding of biblical narrative, a gift to anyone who has struggled with the concealed messages that should be divined in biblical point-of-view narratives.
Why do critics feel impelled to unmask and demystify the works that they read? What is the rationale for their conviction that language is always withholding some important truth, that the critic's task is to unearth what is unsaid, naturalized, or repressed? These are the features of critique, a mode of thought that thoroughly dominates academic criticism. In this book, Rita Felski brilliantly exposes critique's more troubling qualities and proposes alternatives to it. Critique, she argues, is not just a method but also a sensibility--one best captured by Paul Ricoeur's phrase "the hermeneutics of suspicion." As the characteristic affect of critique, suspicion, Felski shows, helps us understand critique's seductions and limitations. The questions that Felski poses about critique have implications well beyond intramural debates among literary scholars. Literary studies, says Felski, is facing a legitimation crisis thanks to a sadly depleted language of value that leaves the field struggling to find reasons why students should care about Beowulf or Baudelaire. Why is literature worth bothering with? For Felski, the tendencies to make literary texts the object of suspicious reading or, conversely, impute to them qualities of critique, forecloses too many other possibilities. Felski offers an alternative model that she calls "postcritical reading." Rather than looking behind the text for its hidden causes, conditions, and motives, she suggests that literary scholars place themselves in front of a text, reflecting on what it calls forth and makes possible. Here Felski enlists the work of Bruno Latour to rethink reading as a co-production between actors, rather than an unraveling of manifest meaning, a form of making rather than unmaking. As a scholar with an abiding respect for theory who has long deployed elements of critique in her own work, Felski is able to provide an insider's account of critique's limits and alternatives that will resonate widely in the humanities.
Much like her highly acclaimed One Writer's Beginnings, The Eye of the Story offers Eudora Welty's invaluable meditations on the art of writing. In addition to seven essays on craft, this collection brings together her penetrating and instructive commentaries on a wide variety of individual writers, including Jane Austen, E. M. Forster, Willa Cather, Anton Chekhov, William Faulkner, and Virginia Woolf.
From Plato to Virginia Woolf, Structuralism to Practical Criticism, Introducing Literary Criticism charts the history and development of literary criticism into a rich and complex discipline. Tackling disputes over the value and meaning of literature, and exploring theoretical and practical approaches, this unique illustrated guide will help readers of all levels to get more out of their reading.