This Encyclopedia is the main finished consultant but either to the character and content material of literature, and to literary feedback. In 90 essays by means of top foreign critics and students, the quantity covers either conventional themes akin to literature and heritage, poetry, drama and the radical, and in addition more recent themes corresponding to the creation and reception of literature. present serious rules are essentially and provocatively mentioned, whereas the volume's association displays in a dynamic manner the wealthy variety of latest puzzling over literature.
Each essay seeks to supply the reader with a transparent experience of the complete importance of its topic in addition to advice on extra reading.
An crucial paintings of reference, The Encyclopedia of Literature and Criticism is a stimulating advisor to the principal preoccupations of latest severe puzzling over literature.
* basically written through students and critics of foreign status for readers in any respect degrees in lots of disciplines
* In-depth essays masking all points, conventional and new, of literary stories previous and present
* necessary cross-references in the textual content, with complete bibliographical references and proposals for additional reading
* unmarried index of authors, phrases, subject matters
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Extra resources for Encyclopedia of Literature and Criticism (Routledge Companion Encyclopedias)
Eliot (1917) dissented from the ‘expressive’ theory, affirming rather the impersonality of poetic composition: ‘The progress of an 17 INTRODUCTION artist is a continual self-sacrifice, a continual extinction of personality’ (in Adams, 1971, p. 785). ‘New Criticism’ argued that no attention should be given to the person of the author; by the act of writing, writers write themselves out of the texts and neither their personality nor their intentions are relevant to criticism (see Wimsatt, 1954). Attention should rather be given to craftsmanship at the level of the text, ‘the work itself’; and an even more radical banishment of the author is effected in the post-structuralist theory of Barthes and of Foucault (1979).
For example, ‘Literature’ is by some supposed to promote changes in readers, purging or integrating their emotions, whereas other critics assume that the reader’s engagement with a text is a contemplative, dispassionate state which leaves him or her unchanged in practical terms. The latter critic might say that the former is concerned with ‘rhetoric’, not ‘Literature’, if it came to the issue. Such contradiction would be damaging if literary theory were a science with some prospect of, in Saussure’s expression, defining and delimiting itself.
Warren, Cleanth Brooks, Allen Tate and other conservatives of the American South. These developments have been well discussed and documented by others (see Tillyard, 1958; Palmer, 1965; Eagleton, 1983; Baldick, 1983). 5. CHARACTERISTICS OF ‘LITERATURE’ IN MODERN CRITICAL DISCOURSE At the outset I indicated that we cannot assume that there exists some entity ‘Literature’ waiting for the proper definition. In fact, the plethora of supposed defining criteria, often conflicting, that have been offered over the past two centuries and are still in circulation today suggests that the definition of ‘Literature’ is a fruitless quest.
Encyclopedia of Literature and Criticism (Routledge Companion Encyclopedias)