Elizabethan Prose Fiction and Some Trends in Recent Criticism

1984 ◽  
Vol 37 (1) ◽  
pp. 21-33 ◽  
Author(s):  
A. C. Hamilton
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Paradise Lost ◽  
Recent Criticism ◽  
Prose Fiction ◽  
New Criticism ◽  
Historical Scholarship ◽  
The Bible ◽  
Adequate Response ◽  
Popular Work

Current methodological trends now influence the study of most literature, but as I shall argue, in the future they may alter radically the study of Elizabethan prose fiction. Some works of literature, especially the major ones, may be enjoyed by readers in any age, but many, perhaps now most, depend on literary criticism to be properly understood and fully appreciated. At one time Milton's Paradise Lost was a popular work, requiring of its readers only that their lives be grounded in the Bible to ensure their full response to it. For most readers today, an adequate response to Milton's poem is a product of the historical scholarship and the New Criticism practiced mostly in America in the first half of the twentieth century.

Southern Enclosure as American Literature

Black Market ◽  
2020 ◽  
pp. 138-183
Author(s):  
Aaron Carico
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Literary Criticism ◽  
New Deal ◽  
New Criticism ◽  
Poor Whites ◽  
Paper Money ◽  
The Poor ◽  
Land Grabs ◽  
Racial History

Set against the backdrop of Southern land grabs in the 1830s and again in the 1930s that were meant to sustain the cotton economy, this chapter studies the literary representation of the poor whites who were side-lined by the slave plantation’s expansion and modernization, and who were then remade into a national folk by literary elites. Facilitated by these Southern enclosures, the ambivalent canonization of poor whites as the nation’s folk would have a decisive and determining influence on the constitution—and the racial covenant—of American literature, and not only on its Americaness but also on its literariness. Slavery was the condition of possibility for this literature, but its role, along with that of the enslaved, was silenced. From frontier humor to the New Criticism, this chapter reveals a submerged racial history beneath the canonization of U.S. national literature, which was undertaken in the early twentieth century in U.S. literary criticism, explainingthe roleof New Deal photography, of paper money and paperwork, and modernism in literary style in the constitution of American literature as both discipline and object.

Newman, Aristotle, and the New Criticism: On the Modern Element in Newman's Poetics

PMLA ◽  
1966 ◽  
Vol 81 (3) ◽  
pp. 261-271
Author(s):  
Norman Friedman
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Critical Theory ◽  
Literary Criticism ◽  
The Other ◽  
New Criticism ◽  
Minority Report

Certain Aspects of modern critical theory can be defined in terms of its use—or rather, misuse—of Aristotle's Poetics, especially of Aristotle's conception of plot and his statement that poetry deals with universals rather than particulars. The same, of course, can be said of other periods as well. Sidney's view of Aristotle, for example, was confined to the notion that a poem was an imitation of an action, but he platonized even this conception by claiming that the action imitated was an ideal one—what ought to be rather than what is—and this, as we shall see, became quite a common distortion of the famous passage at the beginning of the ninth chapter of the Poetics. The other side of the coin is found in the seventeenth and eighteenth centuries' concern with the genres and the unities and their supposed rules. It cannot be said that Aristotle has been a vital influence on literary criticism since the nineteenth century, except for the current minority report being filed by the Chicago Critics, but these two aspects of the Poetics nevertheless offered a support and a challenge to certain nineteenth- and twentieth-century critics for clarifying their own ideas about poetry.

Burke on the Sublime and Beautiful

Philosophy ◽  
1961 ◽  
Vol 36 (136) ◽  
pp. 71-73
Author(s):  
Anthony Quinton
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Analytic Philosophy ◽  
Point Of View ◽  
The Other ◽  
New Criticism ◽  
Philosophical Inquiry ◽  
The Sublime ◽  
The Arts ◽  
Academic Philosophy

Burke's Enquiry is one of those books that hovers, importantly but ineffectively, at the fringes of the attention of most modern readers of philosophy. It is something that they have always meant to read some time but yet which they all too seldom get around to actually reading. Its neglect, no doubt, is mainly to be accounted for as part of the generally rather forlorn position of aesthetics in our intellectual landscape. Students of literature disregard aesthetics as at once too schematic and abstract for their purposes and as too often the work of people inadequately equipped for and experienced in the direct criticism of literature and the arts. Although the dominant style of modern criticism had as one of its principal sources a fairly consciously philosophical inquiry into the nature of literature, namely Richard's Principles of Literary Criticism, in its prevailing form, as manifested in the writings of Dr. Leavis and his fol-lowers, it is hostile to any pretensions to critical relevance on the part of academic philosophy. If it rejects impressionism for determinedly intellectual analysis of the detail of literature, it still relies on philosophy only in the loosest and most colloquial sense of the word in so far as it embodies a definitely articulated point of view on questions of morality. (This is not true, it should be added, of the corresponding American New Criticism.) On the other hand, aesthetics has only figured in the most fitful and peripheral manner on the agenda of twentieth-century analytic philosophy.

Revising Plants, man and life: Edgar Anderson reshapes a classic book

2003 ◽  
Vol 30 (1) ◽  
pp. 85-96 ◽  
Author(s):  
Kim Kleinman
Keyword(s):  
Twentieth Century ◽  
Evolutionary Theory ◽  
Evolutionary Synthesis ◽  
Ernst Mayr ◽  
Active Participant ◽  
Evolutionary Mechanism ◽  
Popular Work ◽  
Scientific Attention ◽  
Key Events ◽  
Jesup Lectures

On at least four occasions, Edgar Anderson (1897–1969) began revising his book Plants, man and life (1952). Given both its place in Anderson's career and his place in the development of evolutionary theory in the mid-twentieth century, the emendations are noteworthy. Though a popular work, Plants, man and life served as the distillation of Anderson's ideas on hybridization as an evolutionary mechanism, the need for more scientific attention on domesticated and semi-domesticated plants, and the opportunities such plants provided for the study of evolution. Anderson was an active participant in several key events in what historians have come to call the Evolutionary Synthesis. For example, he and Ernst Mayr shared the 1941 Jesup Lectures on “Systematics and the origin of species”. Anderson's proposed revisions to his book reflect both an attempt to soften certain acerbic comments as well as an attempt to recast the book as a whole.

Introduction

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Cultural History ◽  
Intellectual History ◽  
Historical Sociology ◽  
Cultural Representations ◽  
History Of ◽  
Television Film ◽  
Popular Image

The introductory chapter discusses the popular image of the ‘Romantic mad poet’ in television, film, theatre, fiction, the history of literary criticism, and the intellectual history of the twentieth century and its countercultures, including anti-psychiatry and psychoanalysis. Existing literary-historical work on related topics is assessed, before the introduction goes on to suggest why some problems or difficulties in writing about this subject might be productive for further cultural history. The introduction also considers at length the legacy of Michel Foucault’s Folie et Déraison (1961), and the continued viability of Foucauldian methods and concepts for examining literary-cultural representations of madness after the half-century of critiques and controversies following that book’s publication. Methodological discussion both draws on and critiques the models of historical sociology used by George Becker and Sander L. Gilman to discuss genius, madness, deviance, and stereotype in the nineteenth century. A note on terminology concludes the introduction.

The Bible in the Twentieth-Century Anglophone World

2018 ◽  
Author(s):  
Mark P. Hutchinson
Keyword(s):  
Twentieth Century ◽  
North Carolina ◽  
Cultural Context ◽  
Biblical Interpretation ◽  
Public Knowledge ◽  
Protestant Churches ◽  
The Bible ◽  
Public Debates ◽  
Billy Graham ◽  
Anglophone World

This chapter looks at the tensions between biblical interpretation and the political, social, and cultural context of dissenting Protestant churches in the twentieth century. It notes that even a fundamental category, such as the ‘inspiration’ of Scripture, shifted across time as the nature of public debates, social and economic structures, and Western definitions of public knowledge shifted. The chapter progresses by looking at a number of examples of key figures (R. J. Campbell, Harry Emerson Fosdick, H. G. Guinness, R. A. Torrey, and R. G. McIntyre among them) who interpreted the Bible for public comment, and their relative positions as the century progressed. Popularization of biblical interpretation along the lines of old, new, and contemporary dissent, is explored through the careers of three near contemporaries: Charles Bradley ‘Chuck’ Templeton (b. 1915, Toronto, Canada), William Franklin ‘Billy’ Graham, Jr (b. 1918, North Carolina), and Oral Roberts (b. 1918, Oklahoma).

Milton in China ‘Yet Once More’

2017 ◽  
Author(s):  
Bing Yan
Keyword(s):  
Literary Criticism ◽  
World Literature ◽  
Paradise Lost ◽  
Subsequent Discussion ◽  
Recent Developments ◽  
Collaborative Context ◽  
Chinese Literary Criticism ◽  
Near Future

This chapter overviews Chinese reception of Milton, with an emphasis on some of the most well-known Chinese translations of Paradise Lost. Close readings of these translations against Milton’s original demonstrate the difficulties of and resolutions for rendering Milton’s verse specific to Chinese. The subsequent discussion of the paratexts accompanying Chinese translations and of ‘introduction to world literature’ series gives a sense of the collaborative context that has shaped and continues to shape today’s general reception of Milton in China. That politically charged reception, eager to view Milton’s Satan as the embodiment of the poet’s revolutionary spirit, also dominates some recent works of Chinese literary criticism. The chapter ends by conceding that, while Milton scholarship in China has been relatively univocal and is still young, recent developments in world literature promise that innovative and intriguing work on Milton can be expected from China in the near future.

How American Newspaper Comic Strips Portray God, Angels, and Humans

2020 ◽  
pp. 398-413
Author(s):  
Leonard Greenspoon
Keyword(s):  
Twentieth Century ◽  
Popular Culture ◽  
New Testament ◽  
Religious Identity ◽  
Online Media ◽  
Comic Strip ◽  
Comic Strips ◽  
The Bible ◽  
Biblical Texts

The comic strip as a mainstay of print and more recently online media is an American invention that began its development in the last decades of the 1800s. For many decades in the mid-twentieth century, comic strips were among the most widely disseminated forms of popular culture. With their succession of panels, pictures, and pithy perspectives, comics have come to cover an array of topics, including religion. This chapter looks at how the Bible (Old and New Testament) figures in comic strips, focusing specifically on three areas: the depiction of the divine, renderings of specific biblical texts, and how comic strips can function as sites in which religious identity and controversies play out. Relevant examples are drawn from several dozen strips. Special attention is also paid to a few, like Peanuts and BC, in which biblical imagery, ideology, and idiom are characteristically portrayed in distinctive ways.

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