Para/worlds: Entanglements of Art and HistoryThe 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." |
From inside the book
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... described it as a place Where men have heaped no burial mounds , And the days pass by like a wayward tune , Where broken faith has never been known , And the blushes of first love never have flown . The theme continues to appear in ...
... described the artist's vision as a capacity " to see through and far beyond the immediate objects on which the eyes are fixed . ” This is how Horace must have seen Cleopatra as he worked at his poem , discov- ering behind the political ...
... described him in the only seat that was left , which was in the front row right under the lecturer's eyes , and his presence there caused the lecturer such discomfort that before long he was talking nonsense . Well , Yeats was ...