creates”. Is it really possible to separate the identity of the poet from the man of the world as claimed by T.S. Eliot in his essays? Karl Shapiro’s collection of essays, The Poetry Wreck (1975) reflects his polemical rejection of what he saw as the poetry ‘Establishment’. The essay entitled as “T.S. Eliot: The Death of literary Judgment”, articulates a rejection of Eliot’s critical authority, which was already widely felt by the presentgeneration poets, critics and readers. Contemporary American poetry
abolition of the taxes on knowledge. The Conservatists. Arthur Hallam and the Cambridge Apostles. Against the Reform Bill, yet also repudiating aristocratic privilege. Reform was possible through culture, education and religion. Hallam: essay on Cicero: a disciple of Epicurean epistemology seeing emotion as the ground of consciousness and knowledge. The mind is a flux of sensations, and man acts mainly from feeling. There are no permanent, valid truths in the universe. Individual character
films as well as testing their ideas with a number of other examples from contemporary cinema and television. She concludes that the concepts have not remained static over the past thirty years but have continually evolved with the influence of new critical debates and developments in film production, signalling their continuing impact and relevance in an era that is often unthinkingly branded as ‘post-feminist’. Shohini Chaudhuri is Lecturer in Contemporary Writing and Film at the University of Essex
my scholarship in the place where his great grandfather lived and wrote. Joseph Frank and Lazar Fleishman at Stanford University offered invaluable feedback on earlier drafts of this book and taught me to stay true to the text and to trust my own critical instincts. Gregory Freidin, Monika Greenleaf, and Stephen Moeller-Sally offered encouragement and scholarly advice during the writing of my doctoral dissertation, out of which this book grew. I am indebted to Aida Borisovna Abuashvili-Lominadze of
and historical contexts. The selections included are from the twentieth century, with a particular focus on the last thirty years of the century. Features include: • organization into five chronological sections, divided by decade • an introductory essay prefacing each section • a detailed bibliography and suggestions for further reading Contributors: Kwame Anthony Appiah, Walter Benjamin, Antoine Berman, Shoshana Blum-Kulka, Jorge Luis Borges, Annie Brisset, J.C.Catford, Lori Chamberlain, Itamar
“political” rather than “experimental” or “personal”? What is the effect of encountering Langston Hughes in both the section on political poetry and in the section on “The New Negro Renaissance”? Such questions also involve the instructor in the process of critical reevaluation and reclassification, for as instructors we carry the biases and perspectives of our own academic training and reading histories. For many of us, the definition of the word “modern” in terms of literary history almost automatically suggests
ROUTLEDGE COMPANION TO FEMINISM AND POSTFEMINISM Edited by Sarah Gamble LONDON AND NEW YORK First published in the United Kingdom in 1998 by Icon Books Ltd as The Icon Critical Dictionary of Feminism and Postfeminism First published in the United States of America in 1999 by Routledge as The Routledge Critical Dictionary of Feminism and Postfeminism This edition first published 2006 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 Routledge is an
great writers of the twentieth century. While the standing of Joyce, Lawrence, Yeats and Eliot becomes more assured with every year, Shaw continues to suffer from a disabling association with cranks and enthusiasts. Nicolas Grene, Bernard Shaw A Critical View (1984: ix) TABLE OF CONTENTS DEDICATION………………………………………………………………........ i ACKNOWLEDGEMENT……………………………………………………........ ii PREFACE........................................................................................................ iii
was a theoretical nightmare. Untangling this monstrous mess was a constant preoccupation with me for several years—almost a decade, actually—and marked one of the most turbulent theoretic times of my life. The reason that I have authored so many essays about fallacies—such as the pre/trans fallacy and the single-boundary fallacy—is that the Romantics committed many of them, and I, being a good Romantic, had committed them royally; and thus understanding these fallacies from the inside, up close
are the only people who presently (1781) have come to use the wordaesthetic[s] to designate what others call the critique of taste. They are doing so on the basis of a false hope conceived by that superb analyst Baumgarten. He hoped to bring our critical judging of the beautiful under rational principles, and to raise the rules for such judging to the level of a lawful science. Yet that endeavor is futile. For, as far as their principal sources are concerned, those supposed rules or criteria are