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George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
As traced by Roger D. Sell, literary communication is a process of community-making. As long as literary authors and those responding to them respect each other’s human autonomy, literature flourishes as an enjoyable, though often challenging mode of interaction that is truly dialogical in spirit. This gives rise to author-respondent communities whose members represent existential commonalities blended together with historical differences. These heterogeneous literary communities have a larger social significance, in that they have long served as counterweights to the hegemonic tendencies of modernity, and more recently to postmodernity’s well-intentioned but restrictive politics of identity. In post-postmodern times, their ethos is increasingly one of pleasurable egalitarianism. The despondent anti-hedonism of the twentieth century intelligentsia can now seem rather dated. Some of the papers selected for this volume develop Sell’s ideas in mainly theoretical terms. But most of them offer detailed criticism of particular anglophone writers, ranging from Shakespeare, Ben Jonson and other poets and dramatists of the early modern period, through Wordsworth and Coleridge, to Dickens, Pinter, and Rushdie.
"The turn of the twentieth century was a decisive moment in the institutionalisation of Russia's literary scholarship. This is the first book in the English language to provide an in-depth analysis of the emergence of Russia's literary academia in the pre-Revolutionary era. In particular, Byford examines the rhetoric of self-representation of major academic establishments devoted to literary study, the canonisation of exemplary literary historians and philologists (Buslaev, Grot, Veselovskii, Potebnia, Ovsianiko-Kulikovskii), and attempts by Russian literary academics of this era to define their work as a distinct form of scholarship (nauka). By analysing a range of academic rituals, from celebrations of institutional anniversaries to professors inaugural lectures, and by dissecting the discourse of scholars' obituaries, commemorative speeches and manuals in scholarly methodology, Byford reveals how the identity of literary studies as a discipline was constructed in Russia. He provides not only a unique insight into fin-de-siecle Russian literary scholarship, but also an original approach to academic institutionalisation more widely."