The Emergence of Formalist Criticism: an Overview
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93708615 Bloom S Shakespeare Through the Ages Othello Harold
Bloom’s Shakespeare Through the Ages Antony and Cleopatra As You Like It Hamlet Henry IV (Part I) Julius Caesar King Lear Macbeth The Merchant of Venice A Midsummer Night’s Dream Othello Romeo and Juliet The Sonnets The Taming of the Shrew The Tempest Twelfth Night Bloom’s Shakespeare Through the Ages OTHELLO Edited and with an introduction by Harold Bloom Sterling Professor of the Humanities Yale University Volume Editor Neil Heims Bloom’s Shakespeare Through the Ages: Othello Copyright © 2008 by Infobase Publishing Introduction © 2008 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Othello / edited and with an introduction by Harold Bloom ; volume editor, Neil Heims. p. cm. — (Bloom’s Shakespeare through the ages) Includes bibliographical references and index. ISBN 978-0-7910-9575-1 (acid-free paper) 1. Shakespeare, William, 1564-1616. Othello. 2. Othello (Fictitious character) I. Bloom, Harold. II. Heims, Neil. III. Shakespeare, William, 1564–1616. Othello. PR2829.O77 2008 822.3’3—dc22 2007026815 Bloom’s Literary Criticism books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. -
When Is an Agrarian Not an Agrarian? a Reading of Robert Penn Warren’S “The Rb Iar Patch” Clare Byrne
Robert Penn Warren Studies Volume 10 Robert Penn Warren Studies Article 2 2016 When Is an Agrarian Not an Agrarian? A Reading of Robert Penn Warren’s “The rB iar Patch” Clare Byrne Follow this and additional works at: https://digitalcommons.wku.edu/rpwstudies Part of the American Literature Commons, and the English Language and Literature Commons Recommended Citation Byrne, Clare (2016) "When Is an Agrarian Not an Agrarian? A Reading of Robert Penn Warren’s “The rB iar Patch”," Robert Penn Warren Studies: Vol. 10 , Article 2. Available at: https://digitalcommons.wku.edu/rpwstudies/vol10/iss1/2 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Robert Penn Warren Studies by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. When Is an Agrarian Not an Agrarian? A Reading of Robert Penn Warren’s “The Briar Patch” Clare Byrne King’s College, London Critics have tended to fall into one of two camps on the matter of Robert Penn Warren’s participation in the Southern Agrarian movement. They have either agreed with Hugh Ruppersburg that “Agrarianism is…the essential premise on which [Warren’s] American explorations have rested” (30), or with Paul Conkin that “never” did Warren “ever write a single essay in which he committed himself, philosophically, to any version of Agrarian ideology” (105). As a result, his literary output has often either been read as a direct expression of Southern Agrarianism, or exonerated from any connection to it. I propose that Warren’s relationship to Agrarianism was much more complex and conflicted than either of these positions allows, and that this is evident even in the essays he explicitly contributed to the movement. -
HARLEM in SHAKESPEARE and SHAKESPEARE in HARLEM: the SONNETS of CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, and GWENDOLYN BROOKS David J
Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2015 HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS David J. Leitner Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Leitner, David J., "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS" (2015). Dissertations. Paper 1012. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS by David Leitner B.A., University of Illinois Champaign-Urbana, 1999 M.A., Southern Illinois University Carbondale, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of English in the Graduate School Southern Illinois University Carbondale May 2015 DISSERTATION APPROVAL HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS By David Leitner A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of English Approved by: Edward Brunner, Chair Robert Fox Mary Ellen Lamb Novotny Lawrence Ryan Netzley Graduate School Southern Illinois University Carbondale April 10, 2015 AN ABSTRACT OF THE DISSERTATION OF DAVID LEITNER, for the Doctor of Philosophy degree in ENGLISH, presented on April 10, 2015, at Southern Illinois University Carbondale. -
Introduction
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. introduction Nothing can exceed the energy and magnificence of the character of Satan in “Paradise Lost.” It is a mistake to suppose that he could ever have been intended for the popular personification of evil. —shelley, The Defence of Poetry 1. “Too full of the Devill” Paradise Lost is not an orthodox poem and it needs to be rescued from its orthodox critics. This book contends that the best way back to the poem Milton composed, rather than the one the orthodox would have us read, is to reassert the importance of Satan, heretic and hater. I shall be doing this in various ways. One is through revising the history of the Satan that Milton reimagines for us, since a mistaken idea about it has been widely accepted in recent years. It is the combat myth, I argue, that has always been at the center of that history, and Milton knew it. His more perceptive readers have kept it there, for the opposition is central to the poem. “The reason Milton wrote in fetters when he wrote of Angels and God, and at liberty when of Devils and Hell, is because he was a true poet and of the Devils party without knowing it.”1 Blake’s aphorism has become so famous that it is hard to hear what it says. I think that, like much Romantic criticism, it is right, or at least helpful, except for the implied accusation of ignorance. -
Rethinking Genocide: Violence and Victimhood in Eastern Anatolia, 1913-1915
Rethinking Genocide: Violence and Victimhood in Eastern Anatolia, 1913-1915 by Yektan Turkyilmaz Department of Cultural Anthropology Duke University Date:_______________________ Approved: ___________________________ Orin Starn, Supervisor ___________________________ Baker, Lee ___________________________ Ewing, Katherine P. ___________________________ Horowitz, Donald L. ___________________________ Kurzman, Charles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Cultural Anthropology in the Graduate School of Duke University 2011 i v ABSTRACT Rethinking Genocide: Violence and Victimhood in Eastern Anatolia, 1913-1915 by Yektan Turkyilmaz Department of Cultural Anthropology Duke University Date:_______________________ Approved: ___________________________ Orin Starn, Supervisor ___________________________ Baker, Lee ___________________________ Ewing, Katherine P. ___________________________ Horowitz, Donald L. ___________________________ Kurzman, Charles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Cultural Anthropology in the Graduate School of Duke University 2011 Copyright by Yektan Turkyilmaz 2011 Abstract This dissertation examines the conflict in Eastern Anatolia in the early 20th century and the memory politics around it. It shows how discourses of victimhood have been engines of grievance that power the politics of fear, hatred and competing, exclusionary -
William Empson: Genius of Ambiguity Charles I
j_ WILLIAM EMPSON: GENIUS OF AMBIGUITY CHARLES I. GLtCKSDERG* W ILLIAM EMPSON employs a method that is highly technical and specialized, but it must be admitted that it yields some astonishingly fruitful rosults. At least, it pro vides in the field of literary criticism an effective cure for glib generalizations. Instead of offering us brilliant theorizing and un focused emotional reactions, the stock-in-trade of the impres sionist, this enterprising scholar-critic patiently undertakes the task of disentangling the ambiguities of meaning in the skein of poetic context. He uses the word "ambiguity" in a special sense as any "consequence of language, however slight, which adds some nuance to the direct statement of prose". He is thus in terested in catching overtones of expression, hidden nuances and implications not revealed by a superficial reading of the text, subtleties and indirections precipitated by means of protracted analysis and the developed technique of free association. In herent in poetry is the process of diffused association, and the richer, the more varied and original the diffuson, the greater the genius of the poet. And greater, too, by implication, it would seem, is the genius of the critic who can bring this diffused glory to light. Words may possess, as I. A. Richards has taught us on nu merous occasions, a number of distinct meanings- meanings I ·l that cluster together in a system of interanimation. The in .1, dwelling ambiguity springs from an indecision as to the meaning . ~ intended. Frequently the meaning branches off in different di r ections, and it is a nice question for the reader to determine I which road to take. -
A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events. -
Ii the New Criticism and Leavisian Criticism
II THE NEW CRITICISM AND LEAVISIAN CRITICISM Though the New Criticism had its ongms in Britain in the criticism of T. S. Eliot, the theory of I. A. Richards and the practice of William Empson, its most powerful impact has been in America. John Crowe Ransom, who published a book entitled The New Criticism in 1941, was the leading American influence and he acknowledged a debt to Eliot and Richards. The other major American New Critics were Cleanth Brooks, Allen Tate, Robert Penn Warren and W. K. Wimsatt. Indirectly related to the New Criticism are such important figures as Kenneth Burke and R. P. Blackmur. The early New Critics were politically conservative and their attitudes to literature were shaped by their opposition to certain twentieth-century tendencies of thought, such as Marxism. The fundamental aim of American New Criticism was to create a critical alternative to impressionism and historical scholarship, and thus there are some parallels with Russian Formalism. It advocated 'intrinsic' criticism - an impersonal concern for the literary work as an independent object - and opposed 'extrinsic' critical approaches, which concerned themselves with such matters as authorial intention, historical, moral or political considerations, and audience response. The earlier New Criticism was primarily interested in lyric poetry and regarded most highly forms of poetry in which irony, tension, paradox and ambiguity interact with the semantics of language in such a way, they believed, as to render poetic meaning unique and un paraphrasable. They claimed, however, that poetry could impart knowledge but a form of knowledge radically different from knowledge in the scientific sense. -
(London, 1988), P. 125. PROLOGUE
NOTES PREFACE 1. William Empson, Arguejying (London, 1988), p. 125. PROLOGUE: FAMILY TIES 1. Dame Felicitas Corrigan, Siegfried Sassoon: Poet's Pilgrimage (London, 1973), p. 17. 2. See Keith Middlemass, Edward VII (London, 1975), p. 44. 3. See Stanley Jackson, The Sassoons: Portrait of a Dynasty (London, 1968), pp. 84-88. 4. Jackson (1968), p. 75. 5. In 1871 her sister Laura became the second wife of Lawrence Alma- Tadema (1836-1912), the Dutch-born painter who in the 1880s and 90s achieved popular successes with his imaginary scenes from classical Greece, Rome and ancient Egypt. 6. Jackson (1968), p. 76. 7. In The Old Century there is mention of a cook and two maids, with a nurse - later replaced by a German governess - to look after the boys. The male element consisted of the head-gardener, two under-gardeners and Richardson the groom. 8. Philip Hoare, Serious Pleasures: the Life of Stephen Tennant (London, 1990), p. 88. 9. His book collecting may have reminded him of his grandfather Sassoon David Sassoon, who had spent his leisure hours building up a library of rare Hebrew manuscripts. Cf. Jackson (1968), p. 38. 10. Cf. Sassoon's own account of this venture in The Old Century, pp. 279-82. 11. Corrigan (1973), pp. 55-6. 12. Rupert Brooke's last girlfriend, the actress Cathleen Nesbitt (1888-1982) records in her memoirs, A Little Love (London, 1977), that she met Brooke later that same day and that he was full of indignation about Sassoon's remark. That she should recall such a trivial incident over sixty years later (and at the time Sassoon was still a complete unknown) is hard to believe, especially since, according to Sassoon's version, Brooke did not really make an issue out of it. -
Keep on Moving: Studying African Americans Movements by Malaika
Keep on Moving: Studying African Americans Movements Malaika Rudolph-Fletcher Summer 2009 Dr. Gordon Education Policy and Leadership 834 An Interpretive History of African American Education Part II: 1950 to the Present 1 Purpose: The purpose of this year long theme is to challenge and empower young African American students for the future. It is my belief that academic achievement is related to a positive understanding of one’s identity and culture despite the majority’s attempts to malign and denigrate it through media stereotypes, majority perspectives, and lack of culturally representative texts. After reading several books in this class and much discussion, it became imperative for me to develop not just a unit for this class, but a theme that could be used for the entire year to engage my students. The title of this year long theme is “Keep on Moving” because as a group of people, African Americans have moved past obstacles and barriers to assert their position in America. Further, Peter Murrell (2002) stated that as part of the specific cultural practices in an African-Centered Pedagogy, teachers must employ a living curriculum, like a “movement history”, to help students address the historical and contemporary struggles of African American people. As Peter Murrell (2002) asserted there is a definitive cultural and intellectual history that has emerged from the collective experiences of African Americans…and it has an important relationship to what education truly means in the collective memory of descendants of Africans in America. -
Vmagwtr03 P30-59.Final (Page 30
By PAUL KINGSBURY, BA’80 The thorny legacy of Vanderbilt’s Fugitives and Agrarians Pride and Prejudice t’s one of the most famous and cherished photographs in Vanderbilt’s history. Allen Tate, Merrill Moore, Robert Penn Warren, John Crowe Ransom, Donald Davidson. Five balding white men, dressed impeccably in suits and ties, are seated outdoors, Iobviously posed by photographer Joe Rudis to appear as if lost in con- versation. Despite the artifice, the subjects seem relaxed and even playful, what with Moore practically sitting on Tate’s lap, Warren lean- ing in as if to insert a word edgewise, and the entire group looking to Allen Tate as if expecting a clever remark. It was a happy moment for the old friends. It was 1956, and after three decades of being ignored by the University, the Fugitives had returned to campus in glory for a colloquium devoted to their literary work. V anderbilt Magazine 31 Heroes Fugitives and Agrarians he five writers photographed in 1956 “Nothing in Vanderbilt’s history has come devoted to the Fugitives and Agrarians. The undergraduate courses on southern litera- were Vanderbilt graduates. They were anywhere close to the Fugitives and Agrari- 1956 reunion was followed by an Agrarian ture to these writers. On the graduate level, Donald Davidson (1893–1968) known as “Fugitives” after The Fugi- ans in giving it a national reputation,”con- reunion and symposium in 1980. That event, Kreyling says master’s and doctoral students BA’17, MA’22; Vanderbilt Ttive, the widely praised but little purchased firms Paul Conkin, distinguished professor though, seemed to mark a high tide for the in his department read them only occasion- English department, poetry magazine they self-published, along of history, emeritus, and the author of defin- Agrarians and Fugitives on campus. -
Yvor Winters: the Critic As Moralist
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1972 Yvor Winters: the Critic as Moralist. Shirley Sternberg Fraser Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Fraser, Shirley Sternberg, "Yvor Winters: the Critic as Moralist." (1972). LSU Historical Dissertations and Theses. 2208. https://digitalcommons.lsu.edu/gradschool_disstheses/2208 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.