Para/worlds: Entanglements of Art and History
The essays in this book engage in a broad range of topics, stretching from Anacreon and Horace to Kafka and Samuel Beckett, and they concern themselves with the notion of Art and Life as "para-worlds," or fields of being that elucidate and complete each other, answer and imply each other, confront and contradict each other: in short, with the "entanglements of Art and History." Pearce finds centrally that there is at present a crisis in literary criticism. On the one hand, there is a bustling and exciting crop of competing critical schools, each with its special mind-set, each tending to regard itself as the final hierophantic mode. On the other, it seems clear that criticism has recently become a part of higher pathology diagnosing and (if possible) eradicating, as Giles Gunn says, "the disease called literature." The result is that scholars and critics have become more and more self-conscious and obsessive about the purpose and methods of their work. The critical approaches that Pearce himself has employed in these essays are those of no one school or dogma but are almost as varied as the texts themselves, ranging from essays in classical scholarship, through new critical close readings, to postmodernist semiotic analysis. But whether traditional or innovative in method, each of these essays aims in the first instance to be what Anatole France once said all true criticism should be: "the adventure of the soul among masterpieces."
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“ He looked upon thought as a condition of life in generation , ” says Yeats of Shelley during his discussion of Porphyry's cavemaking thought the betraying honey of generation which first entices , then entraps human souls— “ reality ...
Scarecrow thought is mechanical , cut off at the root and tacked together ; that represented by the chestnut tree is organic , deep - rooted , not a threat to the birds , but a haven for them . One polices the field , the other adorns ...
Coleridge's thought was so subtly interwoven with the deepest thought of his time that in wider perspective we can see the poem as imaging a much vaster failure , of which Coleridge's own was a symptomatic part .
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