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Throughout the twentieth and twenty-first centuries, Joseph Conrad's novels and short stories have consistently figured into - and helped to define - the dominant trends in literary criticism. This book is the first to provide a thorough yet accessible overview of Conrad scholarship and criticism spanning the entire history of Conrad studies, from the 1895 publication of his first book, Almayer's Folly, to the present. While tracing the general evolution of the commentary surrounding Conrad's work, John G. Peters's careful analysis also evaluates Conrad's impact on critical trends such as the belles lettres tradition, the New Criticism, psychoanalysis, structuralist and post-structuralist criticism, narratology, postcolonial studies, gender and women's studies, and ecocriticism. The breadth and scope of Peters's study make this text an essential resource for Conrad scholars and students of English literature and literary criticism.
Reception introduces students and academics alike to the study of the way in which texts are received by readers, viewers, and audiences. Organized conceptually and thematically, this book provides a much-needed overview of the field, drawing on work in literary and cultural studies as well as Classics, Biblical studies, medievalism, and the media history of the book. It provides new ways of understanding and configuring the relationships between the various terminologies and theories that comprise reception study, and suggests potential ways forward for study and research in the light of such new configurations. Written in a clear and accessible style, this is the ideal introduction to the study of reception.
Breaking Bad: Critical Essays on the Contexts, Politics, Style, and Reception of the Television Series, edited by David P. Pierson, explores the contexts, politics, and style of AMC's original series Breaking Bad. The book's first section locates and addresses the series from several contemporary social contexts, including neo-liberalism, its discourses and policies, the cultural obsession with the economy of time and its manipulation, and the epistemological principles and assumptions of Walter White's criminal alias Heisenberg. Section two investigates how the series characterizes and intersects with current cultural politics, such as male angst and the re-emergence of hegemonic masculinity, the complex portrayal of Latinos, and the depiction of physical and mental impairment and disability. The final section takes a close look at the series' distinctive visual, aural, and narrative stylistics. Under examination are Breaking Bad's unique visual style whereby image dominates sound, the distinct role and use of beginning teaser segments to disorient and enlighten audiences, the representation of geographic space and place, the position of narrative songs to complicate viewer identification, and the integral part that emotions play as a form of dramatic action in the series.
This History of the criticism of The Sun Also Rises shows not only how Hemingway's first major novel was received over the decades, but also how different critical modes have dominated different decades, and what, besides tenure, critics of different eras looked for in it. As such, it shows what has interested critics, how they have reinterpreted the novel, and how they have seen the characters playing different roles. Thus the novel becomes a mirror, reflecting not only Paris and Spain in 1925, but us.
Examines the major divisions in criticism of this major African American writer, paying particular attention to the way each critical period defines Baldwin and his work for its own purposes.
Ironically, now that she is becoming recognized as a Modernist by some, and as perhaps the greatest American writer of her generation, the criticism often obfuscates more than it reveals. The reasons reside in critics' loyalties to various theoretical approaches, the objectivity of which are often compromised by political hopes. This volume not only traces and analyzes the development of Whartonian literary criticism in its historical and political contexts, but also allows Edith Wharton, herself a literary critic, to respond to various concepts through the author's deductions and extrapolations from Wharton's own words.
In the first of a three-volume work, Daniel Patte presents three very different critical exegeses of Romans 1, arguing that all are equally legitimate and hermeneutically plausible. By expanding upon and respecting the exegeses of many erudite scholars of the last two centuries, Patte concludes that three families of vastly different critical interpretations are fully justified: traditional philological and epistolary studies; rhetorical and sociocultural studies; and figurative studies of the “coherence” of Paul's teaching. Arising from a long-standing interdisciplinary investigation of many receptions of Romans in light of recent diversification of exegetical methodologies, Patte concludes that the interpretation of a scriptural text necessarily involves making a choice among equally legitimate and plausible alternatives; and second, that this choice is always contextual and ethical. When these points are denied (by failing to respect the interpretations of others and absolutizing one's interpretation), instead of being a scriptural blessing, Romans becomes a deadly weapon against others – heretics, Jews (Shoah), and many others. The result is a threefold commentary of Romans 1 that is unique in its scope and thorough-going exegesis.
Examines both academic and popular assessments of Conan Doyle's work, giving pride of place to the Holmes stories and their adaptations, and also attending to the wide range of his published work. Twenty-first-century readers, television viewers, and moviegoers know Arthur Conan Doyle as the creator of Sherlock Holmes, the world's most recognizable fictional detective. Holmes's enduring popularity has kept Conan Doyle in the public eye. However, Holmes has taken on a life of his own, generating a steady stream of critical commentary, while Conan Doyle's other works are slighted or ignored. Yet the Holmes stories make up only a small portion of Conan Doyle's published work, which includes mainstream and historical fiction; history; drama; medical, spiritualist, and political tracts; and even essays on photography. When Doyle published - whatever the subject - his contemporaries took note. Yet, outside of the fiction featuring Sherlock Holmes, until recently relatively little has been done to analyze the reception Conan Doyle's work received during his lifetime and since his death. This book examines both academic and popular assessments of Conan Doyle's work, giving pride of place to the Holmes stories and their many adaptations for print, visual, and online media, but attending to his other contributions to turn-of-the-twentieth-century culture as well. The availability of periodicals and newspapers online makes it possible to develop an assessment of Conan Doyle's (and Sherlock Holmes's) reputation among a wider readership and viewership, thus allowing for development of a broader and more accurate portrait of Doyle's place in literary and cultural history.
First published in 2002. Modes and categories inherited from the past no longer seem to fit the reality experienced by a new generation. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change, to stretch rather than reinforce the boundaries that currently define literature and its academic study. Reception theory is a term that is likely to sound strange to speakers of English who have not encountered it previously. In the largest sense it is a reaction to social, intellectual, and literary developments in West Germany during the late 1960s.