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Theory of Literature was born from the collaboration of Ren Wellek, a Vienna-born student of Prague School linguistics, and Austin Warren, an independently minded "old New Critic." Unlike many other textbooks of its era, however, this classic kowtows to no dogma and toes no party line. Wellek and Warren looked at literature as both a social product--influenced by politics, economics, etc.--as well as a self-contained system of formal structures. Incorporating examples from Aristotle to Coleridge, written in clear, uncondescending prose, Theory of Literature is a work which, especially in its suspicion of simplistic explanations and its distrust of received wisdom, remains extremely relevant to the study of literature today.
A classic of criticism that examines the nature, function, form, and contents of literature. "The most ordered, ranging and purposeful attempt...toward keeping the study of literature at once intelligent and liberal" (New York Times). Index.
Theory of Literature was originally published in 1949. It is not a textbook introducing the young to the elements of literary appreciation nor a survey of the techniques employed in scholarly research. The authors have sought to unite "poetics" (or literary theory) and "criticism" (evaluation of literature) with "scholarship" ("research") and "literary history" (the "dynamics" of literature, in contrast to the "statics" of theory and criticism.
First published in 1962, the present volume is a collection of critical essays on selected works by Fyodor Dostoevsky (1821-1881), the famous 19th century Russian novelist, short story writer, essayist, journalist and philosopher. Critical evaluation of Fyodor Dostoevsky has been marked by sharp and violently bitter extremes. René Wellek has assembled a wide spectrum of these varied critical attitudes toward the works of the great Russian “tragedian of ideas.” Dostoevsky’s work is seen from psychoanalytical, existential, theological, and Marxist points of view. Professor Wellek’s introduction sketches the history of Dostoevsky criticism and influence in all main countries—a task never before attempted. The essays in this collection are: PHILIP RAHV—Dostoevsky in Crime and Punishment MURRAY KRIEGER—Dostoevsky’s “Idiot”: The Curse of Saintliness IRVING HOWE—Dostoevsky: The Politics of Salvation ELISEO VIVAS—The Two Dimensions of Reality in The Brothers Karamazov D. H. LAWRENCE—Preface to Dostoevsky’s “The Grand Inquisitor” SIGMUND FREUD—Dostoevsky and Parricide GEORG LUKÁCS—Dostoevsky DMITRI CHIZHEVSKY—The Theme of the Double in Dostoevsky V. V. ZENKOVSKY—Dostoevsky’s Religious and Philosophical Views DEREK TRAVERSI—Dostoevsky
Traces the development of thought through historical movements and periods from 1500 to 1830.
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Braced Frameworks: An Introduction to the Theory of Structures, Second Edition is a five-chapter book that first underlines the basic concepts in braced frameworks. Braced frameworks are a particular type of construction that has application in almost every branch of engineering. The book also explains the statically determinate trusses and redundant trusses. Secondary stresses and the failure of braced frameworks are also addressed. This text lastly describes the design of a braced framework to perform certain specified functions. This book will be very useful to students engaged in various branches of engineering since the ideas incorporated in this book are applicable to all kinds of structural systems.
The last half of the twentieth century has seen the emergence of literary theory as a new discipline. As with any body of scholarship, various schools of thought exist, and sometimes conflict, within it. I.R. Makaryk has compiled a welcome guide to the field. Accessible and jargon-free, the Encyclopedia of Contemporary Literary Theory provides lucid, concise explanations of myriad approaches to literature that have arisen over the past forty years. Some 170 scholars from around the world have contributed their expertise to this volume. Their work is organized into three parts. In Part I, forty evaluative essays examine the historical and cultural context out of which new schools of and approaches to literature arose. The essays also discuss the uses and limitations of the various schools, and the key issues they address. Part II focuses on individual theorists. It provides a more detailed picture of the network of scholars not always easily pigeonholed into the categories of Part I. This second section analyses the individual achievements, as well as the influence, of specific scholars, and places them in a larger critical context. Part III deals with the vocabulary of literary theory. It identifies significant, complex terms, places them in context, and explains their origins and use. Accessibility is a key feature of the work. By avoiding jargon, providing mini-bibliographies, and cross-referencing throughout, Makaryk has provided an indispensable tool for literary theorists and historians and for all scholars and students of contemporary criticism and culture.
The ten topics contained in Twentieth-Century Literary Theory reflect contemporary theoretical interests and guide the reader through fundamental questions, from the formation to the uses of theory, and from the construction to the interpretation of literature. The selected essays cover a wealth of scholarship from both the United States and Europe. They go beyond traditional categories by focusing on issues rather than writers or critical movements, thus providing a forum for the continuing discussion of what theory is and does.
In the mid-nineteenth century, the study of English literature began to be divided into courses that surveyed discrete "periods." Since that time, scholars' definitions of literature and their rationales for teaching it have changed radically. But the periodized structure of the curriculum has remained oddly unshaken, as if the exercise of contrasting one literary period with another has an importance that transcends the content of any individual course. Why Literary Periods Mattered explains how historical contrast became central to literary study, and why it remained institutionally central in spite of critical controversy about literature itself. Organizing literary history around contrast rather than causal continuity helped literature departments separate themselves from departments of history. But critics' long reliance on a rhetoric of contrasted movements and fateful turns has produced important blind spots in the discipline. In the twenty-first century, Underwood argues, literary study may need digital technology in particular to develop new methods of reasoning about gradual, continuous change.