In a recent poll of practicing art critics, 75 percent reported that rendering judgments on artworks was the least significant aspect of their job. This is a troubling statistic for philosopher and critic Noel Carroll, who argues that that the proper task of the critic is not simply to describe, or to uncover hidden meanings or agendas, but instead to determine what is of value in art. Carroll argues for a humanistic conception of criticism which focuses on what the artist has achieved by creating or performing the work. Whilst a good critic should not neglect to contextualize and offer interpretations of a work of art, he argues that too much recent criticism has ignored the fundamental role of the artist's intentions. Including examples from visual, performance and literary arts, and the work of contemporary critics, Carroll provides a charming, erudite and persuasive argument that evaluation of art is an indispensable part of the conversation of life.
Ivor Armstrong Richards was one of the founders of modern literary criticism. He enthused a generation of writers and readers and was an influential supporter of the young T.S. Eliot. 'Principles of Literary Criticism' was the text that first established his reputation and pioneered the movement that became known as the 'New Criticism'. Through a powerful presentation of the need to read critically and creatively, with an alertness to the psychological and emotional effects of language, Richards presented a powerful new understanding both of literature and of the role of the reader.
This collection of essays in and on recent critical theory and its backgrounds attempts to clarify what is probably one of the most complex situations in the history of literary criticism. The classifier of methodologies can look back only with nostalgia at the simplicity of his problems with the limited warfare among New Critics, biographical and historical scholars, neo-humanists, neo-Aristotelians, and old-style Freudians and Marxists. Much more confusing these days are the challenges not only to critical method but to the very assumption that there is an object or language for criticism. The baffling array of structuralisms, post structuralisms, and phenomenologies, as well as the still-...
In the landmark 1991 edition of Feminisms, Robyn Warhol and Diane Price Herndl assembled the most comprehensive collection of American and British feminist literary criticism ever published. In this revised edition, the editors have updated the volume, in keeping with the expanding parameters of feminist literary discourse. With the inclusion of more than two dozen new essays, along with a major reorganization of the sections in which they appear, Warhol and Price Herndl have again established the measure for representing the latest developments in the field of feminist literary theory. Believing that the feminist movement can only move forward "where difference commands attention, not dismissal or negativism," they have continued the original collection's mission of providing a multiplicity of perspectives and approaches. This revised edition contains three new sections ("Conflict," "Gaze," and "Practice") and includes more selections by and about women of color and lesbians.
Edited by Patricia Waugh, this comprehensive guide to literary theory and criticism includes 39 specially commissioned chapters by an outstanding international team of academics. The volume is divided into four parts. Part One covers the key philosophical and aesthetic origins of literary theory, Part Two looks at the foundational movements and thinkers in the first half of the twentieth century, Part Three offers introductory overviews of the most importantmovements and thinkers in modern literary theory and Part Four looks at emergent trends and future directions.
A new edition of a classic treatise on literary theory seeks to develop a sophisticated relationship between Marxism and literary criticism, evaluating the key works of such figures as Lenin, Trostsky, and Sartre as well as canonical writers including Charles Dickens and T. S. Eliot to demonstrate how ideology can play a productive and subversive role in literature. Reprint.