By Widdowson / Brooker
A vintage advent to the ever-evolving box of recent literary concept, now in an elevated and up to date edition.Considers 'New Aestheticism' and engages with the tips of 'Post-Theory' comprises large publications to additional examining, internet and digital assets to make sure the standard of scholars' learn A word list defines key theoretical and significant phrases encompasses a consultant to appropriate journals
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Additional info for A Reader's Guide to Contemporary Literary Theory (5th Edition)
Rylance, Rick, ‘The New Criticism’, in Encyclopaedia of Literature and Criticism, Martin Coyle, Peter Garside, Malcolm Kelsall and John Peck (eds) (Routledge, London, 1990). Samson, Anne, F. R. Leavis (Harvester Wheatsheaf, Hemel Hempstead, 1992). qxd 07/02/2005 14:43 Page 29 . CHAPTER 2 Russian formalism and the Bakhtin School S tudents of literature brought up in the tradition of AngloAmerican New Criticism with its emphasis on ‘practical criticism’ and the organic unity of the text might expect to feel at home with Russian Formalism.
NEW CRITICISM, MORAL FORMALISM AND F. R. LEAVIS ‘experience’, to prove its moral force, and to demonstrate (by close scrutiny) its excellence. The passage from Eliot which gave Leavis his title for The Common Pursuit speaks of the critic’s task as engaging in ‘the common pursuit of true judgement’, and Revaluation (1936) is an Eliot-like sorting-out of the ‘true’ tradition of English poetry, just as The Great Tradition (1948) itself opens with the classic Leavisian ‘discrimination’ that ‘The great English novelists are’ Jane Austen, George Eliot, Henry James and Joseph Conrad – a dogmatic and exclusive list which immediately suggests just how tendentious Leavis’s ‘true judgement’ may, in fact, be.
A libertarian language is entirely appropriate in describing Bakhtin’s approach, which is very much a celebration of those writers whose work permits the freest play of different value systems and whose authority is not imposed upon the alternatives. Bakhtin is profoundly un-Stalinist. His classic work is Problems of Dostoevsky’s Poetics (1929), in which he developed a bold contrast between the novels of Tolstoy and those of Dostoevsky. In the former, the various voices we hear are strictly subordinated to the author’s controlling purpose, his ‘truth’.
A Reader's Guide to Contemporary Literary Theory (5th Edition) by Widdowson / Brooker