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Tracing the rise of literary self-consciousness from the Elizabethan period to his own day, Eliot invites us to "start with the supposition that we do not know what poetry is, or what it does or ought to do, or of what use it is; and try to find out, in examining the relation of poetry to criticism, what the use of both of them is."
In the twentieth century, literature was under threat. Not only was there the challenge of new forms of oral and visual culture. Even literary education and literary criticism could sometimes actually distance novels, poems and plays from their potential audience. This is the trend which Roger D. Sell now seeks to reverse. Arguing that literature can still be a significant and democratic channel of human interactivity, he sees the most helpful role of teachers and critics as one of mediation. Through their own example they can encourage readers to empathize with otherness, to recognize the historical achievement of significant acts of writing, and to respond to literary authors own faith in communication itself. By way of illustration, he offers major re-assessments of five canonical figures (Vaughan, Fielding, Dickens, T.S. Eliot, and Frost), and of two fascinating twentieth-century writers who were somewhat misunderstood (the novelist William Gerhardie and the poet Andrew Young).
The history of the most hotly debated areas of literary theory, including structuralism and deconstruction.
The Book Is The Most Authentic One Ever Written On The Subject. Apart From Its Wide-Ranging And Usually Inaccessible Materials, It Has Been Written In Such A Lively And Fluent Style That It Ravishes Both The Uninitiated And The Expert, The Common Reader And The Scholar. Besides, Having Functional Utility For Examinations, Interviews And Competitions, And Elite Occasions, It Is A Source Of Critical Strength And Ideas For Any Reader Of Taste And Interest Irrespective Of His Particular Language, Literature And Department. Mohammad Hanif Has Made A Diligent Collection Of Material From And About T.S. Eliot S Critical Writings And Has Arranged It Straightforwardly In Eight Chapters, On The Sources Of Eliot S Ideas, On His Views About Poetry, Criticism, Drama And The Novel And His Style Is Lively, Clear And Forceful On The Whole ----.----- He Roused By Attention By Some First-Hand Observation On A Point Of Detail (For Instance, Eliot And Benda, On Eliot S Possible Debt To Pater And On Eliot S Humour). The Inclusion Of Chapter 6 On Eliot S Criticism Of The Nover Is Welcome And Mr. Hanif Does Show That Eliot Ranged Widely In This Department Of Literature ------------.
This is Volume four of ten of the selected works of I.A. Richards from 1919 to 1938. Originally published in 1929, this study looks at literary judgement. The ‘Practical Criticism’ experiment began to take shape in late 1923. A. C. Benson, then Master of Magdalene College, records in his diary for the 13th of October ‘that at dinner Richards had suggested as a good examination for English students to print five extracts of poetry and prose, with no clue as to author and date, and containing one really worthless piece – and ask for comments and opinion’. This volume is the evidence of that experiment.
A literary-historical account of English poetry from Anglo-Saxon writings to the present.
Thomas Stearns Eliot, 1888-1965, English poet.
This book argues that the history of English Studies is embedded in its classroom practice, and its practice in its history. Some of its foundational struggles are still being lived out today. English is characterized as a ‘boundary’ subject, active in dialogue across a number of imagined borders, especially those between academic and non-specialized readerships. While the subject discipline maintains strong pedagogic principles, many of its principles and values are obscure or even invisible to students and potential students. The book cross-fertilizes the study of English as a subject with the analysis of selected literary texts read as pedagogic parables. It concludes with a call for a return to the subject’s pedagogic roots.