scholarly journals Tu voz en mi garganta. Lecturas de cabecera de Pablo del Águila

2021 ◽  
Vol 12 (2) ◽  
pp. 1-13
Author(s):  
David Ferrez Gutiérrez ◽  
Keyword(s):  
Literary Criticism ◽  
Literary Tradition ◽  
Ideological Struggle

A writer is always inscribed in a specific ideological and literary horizon, with all that that implies. The eternal tension between reading and the empty blank page is configured and articulated through writing; anchoring us to a specific tradition that, in turn, commits us to a historical reading of literature. This last question, the commitment, decisively configures not only the literary tradition in which Pablo del Águila is inscribed: Celaya, Otero, Vallejo, Brecht, among others, as well as the different readings that literary criticism has issued on this tragic writer from Granada. And here appear other names: Juan Carlos Rodríguez, José Ortega, Jairo García Jaramillo and Elisa Sartor - with this we offer only a sample -. Through these and others (and their corresponding readings) we will trace the authors of the writer from Granada’s nightstand; and how these readings commit him to a specific ideological horizon: writing understood as an instrument of ideological struggle

Some Thoughts on the Mutual Displacements/Appropriations/Accommodations of Culture in Several Fictions by Toni Morrison, Cynthia Ozick, and Grace Paley

Prospects ◽  
1995 ◽  
Vol 20 ◽  
pp. 387-404
Author(s):  
Emily Miller Budick
Keyword(s):  
American Literature ◽  
Literary Criticism ◽  
Toni Morrison ◽  
Body Politic ◽  
Literary Tradition ◽  
The United States ◽  
The Body ◽  
Cynthia Ozick ◽  
History Of ◽  
Entire History

InPlaying in the Dark, Toni Morrison sets out to chart a new “geography” in literary criticism, to provide a “map” for locating what she calls the “Africanist” presence in the American literary tradition. The assumption of Americanist critics, she argues, has been that “traditional, canonical American literature is free of, uninformed, and unshaped by the fourhundred-year-old presence of, first, Africans and then, African Americans in the United States. It assumes that this presence — which shaped the body politic, the Constitution, and the entire history of the culture — has had no significant place or consequence in the origin and development of that culture's literature.” For Morrison, recording the Africanist presence produces nothing less than an absolute revision of our notion of what constitutes the American literary tradition.

The Western Literary Tradition and the Qur’an

2020 ◽  
pp. 591-604
Author(s):  
Jeffrey Einboden
Keyword(s):  
Literary Criticism ◽  
Middle Ages ◽  
Dante Alighieri ◽  
Don Delillo ◽  
Literary Tradition ◽  
American Fiction ◽  
Washington Irving ◽  
The West ◽  
Contemporary American Fiction ◽  
Holy Writ

From medieval European verse to contemporary American fiction, the Qur’an has consistently impacted Western literatures, influencing poets and prose writers from the middle ages to postmodernity. Sketching a chronology of the Qur’an and ‘the canon’, this chapter situates Muslim scripture as a literary precedent in Europe, Britain, and America, attending to Qur’anic echoes that emerge in diverse works penned by literati from Ludovico Ariosto to Washington Irving, from Dante Alighieri to Don DeLillo. Identifying not only oppositions, but unexpected overlaps, between Islam’s holy writ and Western artistry, this chapter suggests the topical subjects and stylistic techniques which ensure the Qur’an’s enduring significance for both literary creativity and literary criticism in the West.

Epilogue: Between Immersion and Critique – Thoughtful Reading

2020 ◽  
pp. 232-237
Author(s):  
Patrick Fessenbecker
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Literary Tradition ◽  
Literary Texts ◽  
Normal Science ◽  
New Criticism ◽  
Moral Thought ◽  
The Third ◽  
Important Message ◽  
Fredric Jameson

Let’s take a step back. In the introduction, I sought to demonstrate some of the ways in which formalism has become instinctive in literary criticism, using several different genealogies. The first briefly surveyed some current thinkers, including Franco Moretti, Caroline Levine, Jonathan Kramnick and Anahid Nersessian, who assert that formalism is constitutive of literary study and a distillation of the best elements of its scholarly history. The second looked at how formalism had emerged as a contrast to methods based on reading for the content and ideas of literary texts, considering first a trajectory up to the New Criticism and Cleanth Brooks’s diagnosis of the heresy of paraphrase and subsequently an arc away from it, one through Fredric Jameson and Jacques Derrida that maintained the suspicion of literary content. And the third looked at the scholarship that formed the ‘ethical turn’, which similarly refused to read for the moral thought in literature, preferring to emphasise the ethical effects of form. All the while, though, there has been a sort of normal science of literary criticism that largely refused the insistence on form and was willing to let its scholarship rest with attempts to bring authors into conversation with issues that the critics cared about. That school of criticism has never received the dignity of a formal title, and I concluded by suggesting that it deserved one. Moreover, I argued, the moral thought in Victorian narratives offered a useful example in this regard, since it is a literary tradition deeply concerned with communicating an important message, and subsequent traditions in moral philosophy offer useful resources for clarifying the ideas such authors had....

Gender, Theatre, and the Origins of Criticism: From Dryden to Manley. By Marcie Frank. Cambridge: Cambridge University Press, 2003; pp. 175. $60 cloth.

2004 ◽  
Vol 45 (2) ◽  
pp. 303-305
Author(s):  
Julia Schmitt
Keyword(s):  
Women Writers ◽  
Literary Criticism ◽  
Literary Tradition ◽  
Aphra Behn ◽  
John Dryden ◽  
Cambridge University ◽  
Delarivier Manley ◽  
Rightful Place ◽  
History Of

Gender, Theatre, and the Origins of Criticism: From Dryden to Manley explores the role theatrical artists played in the emergence of literary criticism. Marcie Frank suggests that a study of this emergence should begin with John Dryden, and that it must also include the contributions made by female playwrights (such as Aphra Behn, Catharine Trotter, and Delarivier Manley)—not merely as side notes worthy of attention in a feminist attempt to include women writers in the history of criticism but, more important, as writings that actively carried on the genealogical literary tradition that Dryden established. Frank makes the case that by figuring the transmission of a national vernacular canon “as a patrimony, [Dryden] drew the lines of access to a native literary tradition for subsequent writers and critics” (2). The essays in the book work to establish the presence of a critical legacy left to us by Dryden, Behn, Trotter, and Manley. In doing so, Frank hopes to restore the theatre's rightful place in the story of criticism's emergence, thereby allowing an acknowledgment of the “performativity of criticism, both in the sense of what it accomplishes—the establishment of a native tradition coded as filiation—and in the appreciation of the means by which it does so” (2).

Kassandra

1959 ◽  
Vol 79 ◽  
pp. 80-93 ◽  
Author(s):  
P. G. Mason
Keyword(s):  
Literary Criticism ◽  
Daily Life ◽  
Literary Tradition ◽  
Logical Analysis ◽  
Greek Literature ◽  
Classical Concept ◽  
Modern Technique ◽  
Renaissance Painting ◽  
The Subject ◽  
True Intention

Three reasons in particular have suggested the choice of Kassandra as the subject of this paper; though they may well be excuses rather than reasons, for I confess that she intrigues me. Firstly, her story is an interesting example of the development of a ‘character’ of Greek literature whose name has become a by-word in later times. Secondly, she affords an excellent chance of studying two very differently gifted dramatic artists at work on the same material; and thirdly, she illustratesvery prettily the difficulties and dangers, as well as the advantages, of a very useful modern technique of literary criticism, a sort of mythical ‘Formgeschichte’, the study of the developing theme.Few artists indeed are free of indebtedness either to contemporary artistic influences or to their predecessors in the same field, and this is especially true where the ‘classical concept’ is active—that is, where the subject of art tends to be a traditional one endlessly varied and developed by succeeding generations; any theme of renaissance painting will serve as illustration. So it is that the study of the development of the theme of Hamlet, for example, enables the critic to estimate more justly than before the originality of Shakespeare and the true intention of his play. But this kind of criticism is still an art and not a science, if I may use the conventional but really inaccurate distinction to which we are accustomed; for it is inevitably to some extent subjective and even ‘viciously circular’ in method. Too much should not be claimed for it, not only because the artist is subject to many influences which are not likely to be preserved in a literary tradition, however copious, but also because caprice, personal likings or animosities and the chances of daily life, to say nothing of genius itself, disturb the processes of logical analysis and scholarly evaluation of detail. Moreover, in the study of drama, it is fatally easy to argue in a circle and to prove from an author's treatment of his theme that he has in fact been subject to influences which have determined the treatment from which the influences have been deduced; almost as fatally easy as to decide that this or that speech is what the author really believes or wants to say, the poet speaking through the character. Euripides in particular has suffered from this kind of treatment, and it is hard to see how to avoid the pitfall—but all the same, there is something to be learnt from a study of his use of myth, particularly if he is credited with being what he really is—a playwright.

Clemence Dane’s Literary Criticism for Good Housekeeping: Cultivating a ‘Small, Comical, Lovable, Eternal Public’ of Book Lovers

2018 ◽  
Author(s):  
Stella Deen
Keyword(s):  
Literary Criticism ◽  
Literary Tradition ◽  
Literary Journalism ◽  
Women Readers ◽  
Cultural Images ◽  
Literary Heritage ◽  
Good Housekeeping

This chapter situates Clemence Dane’s literary criticism for Good Housekeeping within the context of interwar women’s literary journalism and discusses her program for the cultural, social, and civic empowerment of women readers. It argues that, as she modelled a holistic reading pleasure that encompassed sensuous and intellectual experience alike, and as she emphasised readers’ responsibility to bring about good books, Dane’s monthly essays both countered cultural images of indiscriminately consuming women readers and provided the structure for ongoing instruction in literary tradition. The chapter demonstrates that Dane’s middlebrow literary criticism engaged in dialogue with and challenged modernist and academic literary criticism, especially through its conception of a literary heritage that both enhanced enjoyment of literature and empowered ordinary readers to evaluate it. Finally, the chapter argues that Dane’s model of pleasurable reading as a gateway to cultural, social, and political benefits helped to shape a progressive modernity for women.

scholarly journals «THOUGHTS ON UNIVERSAL HISTORY» BY ALEKSEY KHOMYAKOV IN THE SPIRITUAL AND CULTURAL CONTEXT OF THE SERBIAN TRADITION

2020 ◽  
pp. 109-117
Author(s):  
Yelena A. Osipova
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Literary Tradition ◽  
Creative Work ◽  
Main Subject ◽  
Historical Knowledge ◽  
Human Race ◽  
Universal History ◽  
National Tradition ◽  
Artistic Vision

The article considers the work of the Russian Slavophil thinker Aleksey Khomyakov (1804-1860) «Semiramis, or Thoughts on Universal History». Despite the fact that in recent years there have been many works in the fi eld of literary criticism devoted to this work of the philosopher, it still remains unraveled in full. However, much in the worldview and creative work of Aleksey Khomyakov and Slavophil philosophers are revealed in a new light as a result of the ideological and thematic correlation of «Semiramis» with the broad historical and spiritual and cultural context of the Serbian national tradition (on the example of the philosophical works of Bishop Nikolaj Velimirović, Archimandrite Justin (Popović), poet Jovan Dučić and other authors). What is the main subject of Aleksey Khomyakov’s study in «Semiramis», is history and ways of development of the whole human race. The vector of basic refl ections of the philosopher, who focused his attention on the fate of Europe and Slavics as its integral and essential constituent, can be seen against this background. The consonance and «intersection» of the thinker’s reasoning with the Serbian cultural and literary tradition makes it possible to draw a conclusion about the unity of the Orthodox Slavic identity of Russians and Serbs - despite all the unique cultural and historical features of the nations. Realisation of this fact becomes possible due to the scale of themes stated by Aleksey Khomyakov in his work, as well as due to the organic connection of the author’s deep historical knowledge and artistic vision.

scholarly journals Topos og motiv. Et forskningshistorisk rids

2017 ◽  
Vol 45 (123) ◽  
pp. 23-36
Author(s):  
Christian Dahl
Keyword(s):  
Literary Criticism ◽  
Literary Theory ◽  
18Th Century ◽  
Literary Tradition ◽  
Classical Rhetoric ◽  
Critical Term ◽  
Theory And Criticism ◽  
History Of ◽  
Literary Theory And Criticism

The aim of this article is to clarify how literary topology relates historically and conceptually to the study of literary motifs. Topos and motif are associated concepts in literary theory, but attempts to define and compare them are evasive and few. While literary topology was, according to Ernst Robert Curtius, founded on the basis of classical rhetoric and concerned primarily the literary tradition of rhetorical eloquence, the notion of motif was, as I will argue, on the contrary conceived as a critical term at a time when rhetoric was loosing its grip on literary criticism at the end of the 18th century. My article will survey a number of influential positions in the history of literary theory and criticism concerning the study of motifs and topoi from Goethe to contemporary contextualist approaches.

scholarly journals The Occasions of Theodore Dreiser’s Literary Criticism – a View from the Theodore Dreiser Edition

2021 ◽  
pp. 271-288
Author(s):  
Jude Davies
Keyword(s):  
Social Justice ◽  
Literary Criticism ◽  
Mark Twain ◽  
Literary Tradition ◽  
Theodore Dreiser ◽  
Literary Naturalism ◽  
Cultural Contexts

Theodore Dreiser published over fifty items of literary criticism between 1900 and 1945 on a wide variety of subjects, while additional discussion of literary matters is scattered through his correspondence, memoirs, unpublished speeches, and cultural and philosophical essays. Hitherto this work has proved useful piecemeal, in its illumination of Dreiser’s fiction, while a few outstanding pieces have served to define Dreiser’s version of realism or literary naturalism. This essay takes the literary criticism seriously as a body of work in itself, sketching out some categories and topics, and providing detailed historical contexts for several items, which reveal under-appreciated nuances and engagements in even better-known pieces such as “True Art speaks Plainly” and “Life, Art and America.” The essay sees coherence across the diverse foci of Dreiser’s literary criticism via the concept of the “occasions of literary criticism,” by which is meant the historical and cultural contexts into which he was writing. It charts the roots of Dreiser’s literary criticism in his need to respond to charges of “literary immorality,” its growth through his very particular response to censorship, and its maturity in his suggestion, in a speech given as part of the peace conference in Paris in 1938, of an American literary tradition dedicated to social justice, taking in Mark Twain and H. D. Thoreau as well as the expected cohort of realists and naturalists. The essay concludes by relating these contexts and preoccupations to the history and practice of the Theodore Dreiser Edition.

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