An Introduction to Literature, Criticism and Theory (4th by Nicholas Boyle, Andrew Bennett

By Nicholas Boyle, Andrew Bennett

Clean, unique and compelling, An advent to Literature, feedback and conception is the fundamental consultant to literary studies.

Starting at ‘the beginning’ and concluding with ‘the end’, the e-book covers themes that diversity from the regularly occurring (character, narrative, the writer) to the more odd (secrets, excitement, ghosts). Eschewing summary isms, Bennett and Royle effectively remove darkness from advanced rules through attractive at once with literary works – in order that a analyzing of Jane Eyre opens up methods of brooding about racial distinction, when Chaucer, Raymond Chandler and Monty Python are all invoked in a dialogue of literary laughter.

Each bankruptcy ends with a story consultant to additional examining and the e-book additionally features a word list and bibliography. The fourth variation has been revised to include well timed new chapters on animals and the environment.

A breath of unpolluted air in a box which can usually appear dry and dauntingly theoretical, this ebook will open the reader’s eyes to the exhilarating probabilities of either studying and learning literature.

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135. 11. On catachresis and its (self-­)mutilations, see the final pages of my “Prefatory Postscript: Interpretation and Reading” in Readings in Interpretation: Hölderlin, Hegel, Heidegger (Minneapolis: University of Minnesota Press, 1987), pp. liii–lxi; and the reading of Aristotle in the second half of “The Future Past of Literary Theory,” Chapter 8 below. 12. For a reading of “props” in the Blest Babe passage, see Cathy Caruth, “Past Recognition: Narrative Origins in Wordsworth and Freud,” MLN 100:5 (December 1985), pp.

Spirit, absolute spirit, is restless, it can get no rest and no satisfaction, and must pass on and over from the medium of representation, sensuous or otherwise, to the element of thought thinking itself absolutely, again, from the poetry of representation (Vorstellung) to the prose of thought (Denken). Given the simultaneously exalted and yet merely preliminary position of art in Hegel’s system, it comes as no surprise, then, that there should be two high points, two “highests,” when it comes to art: classical and romantic.

Timothy Bahti, “Figures of Interpretation, The Interpretation of Figures: A Reading of Wordsworth’s ‘Dream of the Arab’,” Studies in Romanticism 18:4 (Winter 1979), pp. 601–27. 17. ” See Susan J. Wolfson, “The Illusion of Mastery: Wordsworth’s Revisions of The Drowned Man of Esthwaite,” PMLA 99:5 (October 1984), pp. 917–35. 19. De Man, The Resistance to Theory, p. 11. Wordsworth’s famous denunciation in the third of the Essays upon Epitaphs of words that would be “what the garb is to the body” rather than “what the body is to the soul” would provide a certain corroboration that the garments are more threatening than the corpse: “If words be not (recurring to a metaphor before used) an incarnation of the thought but only a clothing for it, then surely will they prove an ill gift; such a one as those poisoned vestments, read of in the stories of superstitious times, which had the power to consume and to alienate from his right mind the victim who put them on.

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