A Reader's Guide to Contemporary Literary Theory (5th by Widdowson / Brooker

By Widdowson / Brooker

A vintage advent to the ever-evolving box of contemporary literary idea, now in an extended and up to date edition.Considers 'New Aestheticism' and engages with the guidelines of 'Post-Theory' includes vast publications to additional interpreting, internet and digital assets to make sure the standard of scholars' learn A word list defines key theoretical and significant phrases features a consultant to correct journals  

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Poems, in other words, are our cultural heritage, permanent and valuable artefacts; and therein lies the crucial difference from more contemporary theoretical positions. As we have noted, New Criticism focused principally on poetry, but two essays by Mark Schorer, ‘Technique as Discovery’ (1948) and ‘Fiction and the Analogical Matrix’ (1949), mark the attempt to deploy New Critical practice in relation to prose fiction. In the first of these, Schorer notes: ‘Modern criticism has shown us that to speak of content as such is not to speak of art at all, but of experience; and that it is only when we speak of the achieved content, the form, the work of art as a work of art, that we speak as critics.

Qxd 07/02/2005 14:43 Page 27 . NEW CRITICISM, MORAL FORMALISM AND F. R. LEAVIS Leavis, F. , Education and the University [1943] (Cambridge University Press, Cambridge, 1962). Leavis, F. , The Common Pursuit [1952] (Penguin, Harmondsworth, 1978). Leavis, F. , D. H. Lawrence: Novelist [1955] (Penguin, Harmondsworth, 1964). , 1941). ’ [1937] in The World’s Body [1938] (Kennikat Press, New York, 1964). Richards, I. , Principles of Literary Criticism [1924] (Routledge, London, 2001). Richards, I. , Practical Criticism [1929] (Routledge, London, 1964).

In this we may see connections with later poststructuralist theories’ concern with the sub-texts, ‘silences’, ‘ruptures’, ‘raptures’ and ‘play’ inherent in all texts, however seemingly stable – although Schorer himself, as a good New Critic, does not deconstruct modern novels, but reiterates the coherence of their ‘technique’ in seeking to capture ‘the whole of the modern consciousness . . the complexity of the modern spirit’. Perhaps it is, rather, that we should sense an affinity between the American New Critic, Schorer, and the English moral formalist, F.

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