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The Complete Idiot's Guide to Literary Theory and Criticism
From Plato to Freud to ecocriticism, the book illustrates dozens of stimulating-and sometimes notoriously complex-perspectives for approaching literature and film. The book offers authoritative, clear, and easy-to-follow explanations of theories that range from established classics to the controversies of current theory. Each chapter offers a conversational, step-by-step explanation of a single theory, critic, or issue, accompanied by concrete examples for applying the concepts and engaging suggestions for related literary readings. Following a section on the foundations of literary theory, the book is organized thematically, with an eye to the best way to develop a real, working understandi...
An Experiment in Criticism
"Professor Lewis believed that literature exists above all for the joy of the reader and that books should be judged by the kind of reading they invite. He doubted the use of strictly evaluative criticism, especially its condemnations. Literary criticism is traditionally employed in judging books, and 'bad taste' is thought of as a taste for bad books. Professor Lewis' experiment consists in reversing the process, and judging literature itself by the way men read it. He defined a good book as one which can be read in a certain way, a bad book as one which can only be read in another. He was therefore mainly preoccupied with the notion of good reading: and he showed that this, in its surrender to the work on which it is engaged, has something in common with love, with moral action, and with intellectual achievement. In good reading we should be concerned less in altering our own opinions than in entering fully into the opinions of others; "in reading great literature I become a thousand men and yet remain myself". As with all that Professor Lewis wrote, the arguments are stimulating and the examples apt"--Publisher description.
Criticism and Social Change
"Criticism and Social Change speaks with special timeliness to the role of the political intellectual (here embodied in Kenneth Burke). Lentricchia's provocative analysis demands serious reflection by American radicals."—Frederic Jameson "A profound meditation on relations obtaining among writing, political consciousness, and criticism—this last taken in its most general sense. It is written with passion and grace; it is shot through with learning, intimate knowledge of the critical tradition, and a deep (though by no means uncritical) understanding of the work (as well as social significance) of Kenneth Burke."—Hayden White
Virginia Woolf's Late Cultural Criticism
After the Modernist literary experiments of her earlier work, Virginia Woolf became increasingly concerned with overt social and political commentary in her later writings, which are preoccupied with dissecting the links between patriarchy, patriotism, imperialism and war. This book unravels the complex textual histories of The Years (1937), Three Guineas (1938) and Between the Acts (1941) to expose the genesis and evolution of Virginia Woolf's late cultural criticism. Fusing a feminist-historicist approach with the practices and principles of genetic criticism, this innovative study scrutinizes a range of holograph, typescript and proof documents within their historical context to uncover the writing and thinking processes that produced Woolf's cultural analysis during 1931-1941. By demonstrating that Woolf's late cultural criticism developed through her literary experimentalism as well as in response to contemporary social, political and economic upheavals, this book offers a fresh perspective on her emergence as a cultural commentator in her final decade and paves the way for further genetic enquiries in the field.
Cultural Criticism, Literary Theory, Poststructuralism
Leitch argues for the use of poststructural theory in cultural criticism. He maintains that deconstruction remains crucial for a truly critical approach to cultural studies.
Leavis and Lonergan
This book explores the ways in which Bernard Lonergan’s philosophy provides exactly the kind of support F.R. Leavis was hoping to find when looking for support for his critical approach to literature after failing to find the support he sought for his argument in the dominance of logical positivism at that time.
The Practice of Criticism
Many people associate 'practical criticism' with a short-sighted brand of literary analysis which kills a student's interest in literature by drilling him to concentrate narrowly on verbal detail. Handled properly, however, practical criticism can play a vital part in a literature course, especially in the crucial stages in the last years at schools or first university year when many students are coming to literature seriously for the first time. This 1968 book is a useful introduction to practical criticism for students. It offers an impressive range of closely analysed passages and exercises, in prose and verse. Mr Rawlinson considers the problems of the beginner, and discussed the mistakes an misconceptions that sometimes spoil practical criticism courses. In his general discussion of topics such as rhythm, tone and imagery, the author is careful not to be too abstract; throughout the book precept is reinforced by example, theory by practice.
The Places of Early Modern Criticism
What is criticism? And where is it to be found? Thinking about literature and the visual arts is found in many places - in treatises, apologies, and paragoni; in prefaces, letters, and essays; in commentaries, editions, reading notes, and commonplace books; in images, sculptures, and built spaces; within or on the thresholds of works of poetry and visual art. It is situated between different disciplines and methods. Critical ideas and methods come into England from other countries, and take root in particular locations - the court, the Inns of Court, the theatre, the great house, the printer's shop, the university. The practice of criticism is transplanted to the Americas and attempts to art...
Rock Criticism from the Beginning
Rock Criticism from the Beginning is a wide-ranging exploration of the rise and development of rock criticism in Britain and the United States from the 1960s to the present. It chronicles the evolution of a new form of journalism, and the course by which writing on rock was transformed into a respected field of cultural production. The authors explore the establishment of magazines from Crawdaddy! and Rolling Stone to The Source, and from Melody Maker and New Musical Express to The Wire, while investigating the careers of well-known music critics like Robert Christgau, Greil Marcus, and Lester Bangs in the U.S., and Nik Cohn, Paul Morley, and Jon Savage in the U.K., to name just a few. While much has been written on the history of rock, this Bourdieu-inspired book is the first to offer a look at the coming of age of rock journalism, and the critics that opened up a whole new kind of discourse on popular music.
