WEIGHING WORDS: GEOFFREY HILL, Collected Critical Writings. Edited by KENNETH HAYNES

2010 ◽  
Vol 60 (4) ◽  
pp. 389-400
Author(s):  
C. Lock
Keyword(s):  
Geoffrey Hill ◽  
Critical Writings

scholarly journals Whittier on Writers and Writing: The Uncollected Critical Writings of John Greenleaf Whittier.

1952 ◽  
Vol 23 (4) ◽  
pp. 525
Author(s):  
Oral Sumner Coad ◽  
Edwin Harrison Cady ◽  
Harry Hayden Clark
Keyword(s):  
Critical Writings

The "irrational Heart": Romantic Disillusionment in and

2007 ◽  
Vol 18 (1) ◽  
pp. 101-116
Author(s):  
John Bolin
Keyword(s):  
Significant Relationship ◽  
The Novel ◽  
Critical Writings

Beckett's personal and critical writings in the early 1930s evidence a dismissive attitude toward Goethe's Werther and other German Romantic figures such as Rilke. (1935-1936), however, suggests that, far from simply rejecting , by the mid 30s Beckett found the novel useful as a paradigm which he could at once satirize and pursue. This essay attempts to sketch a pattern of correspondence between these two works, indicating 's affiliation with a tradition of "romantic disillusionment." While often read as a novel of ideas, thus reveals a significant relationship to a romantic legacy of irrational desire. It is suggested a recognition of this debt helps make sense of a fundamental negativity at the end of the novel which has not been fully appreciated.

scholarly journals Hands, screws, triangles and absolute space

2009 ◽  
Vol 20 (2) ◽  
pp. 279-302
Author(s):  
Nenad Filipovic
Keyword(s):  
Modern Philosophy ◽  
Absolute Space ◽  
Original Argument ◽  
Critical Writings ◽  
Incongruent Counterparts

Hands and other incongruent counterparts are enough argument against relationist, at least Kant thought so, since some of his pre-critical writings. Arguments with incongruent counterparts are elegant and effective and they are quite attracted great attention of numerous authors who have criticized or defended the arguments in different ways. In a meanwhile discussions have gone too far from Kant's original argument, and from the spirit of that time, and received characteristics of modern philosophy and geometry. This text should show that Kant, as well as those who later defended him, did not achieve their goal - no conclusive argument against relationist have been brought by them.

scholarly journals On the Multiplied Spectacle in Tyrtej–Za Kulisami by Cyprian Norwid

2020 ◽  
Vol 38 (English Version) ◽  
pp. 35-53
Author(s):  
Mirella Kryś
Keyword(s):  
Nineteenth Century ◽  
European Countries ◽  
Dramatic Works ◽  
Critical Writings

The main object of analysis in this article is the doubly understood category of theatricality, which organizes Norwid’s reflections in the dramatic diptych titled Tyrtej–Za kulisami, and to demonstrate the influence of Norwid’s experiences with theatre on the development of the category of theatricality in these dramatic works. The poet recorded his remarks about theatre in critical writings and art. This article proposes two ways of reading his plays. The first assumes that the described events are realistically motivated because they take place in the space of nineteenth-century theatres in Warsaw and other European countries. The second involves interpreting the metaphorical and parabolic senses in the diptych, with special emphasis on passages from Dedykacja.

Erich Auerbach's Mimesis as a Meditation on the Shoah

2001 ◽  
Vol 19 (2) ◽  
pp. 62-91 ◽  
Author(s):  
Earl Jeffrey Richards
Keyword(s):  
Central Theme ◽  
Literary Scholarship ◽  
Literary Representation ◽  
Western Literature ◽  
Classic Work ◽  
Current Events ◽  
Critical Writings

Within the enormous body of critical writings dedicated to literaryworks devoted to the Shoah, the possibility of its very representationand the problems arising in the potential deformation of memoryare frequent topics. In light of these issues, it might be helpful toexamine a well-known work of literary scholarship, Erich Auerbach’sMimesis, The Representation of Reality in Western Literature, writtenbetween May 1942 and April 1945, as a potentially overlookedexample of a highly sublimated allegorical meditation on the contemporarymurder of Europe’s Jews. Auerbach’s classic work, whichexplicitly takes literary representation as its central theme, seems touse carefully and subtly selected examples from western literature asfigures for current events.

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